https://www.echeat.com/ The Humorous Grave Shakespeare, throughout his many works, has often used a fool in his work to give comic relief to an otherwise intense situation; examples of this would include the Porter in Macbeth as well as the Jester in King Lear (Clark). Hamlet is no exception to this unwritten rule, as the first gravedigger is the fools whose scene brings about levity to an otherwise tragic situation (Ramadhana). The gravediggers’ scene, Act V Scene I, plays an instrumental role in Hamlet, as it is a two-fold scene showing not only surface humor but also deep philosophy through the first gravedigger himself whose character is a comedian and a philosopher of future death in the play (Duggan). The gravediggers begin the scene by allowing the audience to see how common death is in the lives of these two characters, and to begin the scene with comedy to lighten a very dark mood as immediately prior to this scene Ophelia drowned herself (Davidson). Suicide would have been a reason for Ophelia to not receive a Christian burial within the church thus separating her from the deaths of other people and from her own family as she could not be buried in the church graveyard if she committed suicide. The thing that separates the occurrence of death from one person to another in this play is not if each person dies but how each person dies as exemplified in the conversation between the two gravediggers here, “Gravedigger: Is she to be buried in Christian burial, when she willfully seeks her own salvation? Other: I tell thee she is. Therefore make her grave straight…Gravedigger: How can that be unless she drowned herself in her own defense? …Give me leave. Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, is it…he goes…But if the water come to him and drown him, he drowns not himself” (Shakespeare 239). The audience is well aware that water cannot get up and drown a man on its own, but the humor and casualness with which the gravedigger speaks regarding Ophelia’s death shows the reader that death is an everyday occurrence and has become a point of comedy in the lives of the gravediggers (Davidson). This scene serves to show that the first gravedigger serves as comic relief in this heavy tragedy of Ophelia’s death, as the audience imagines the 2021-12-06T09:08:35.62-05:00 http://75.150.148.189/free-essay/Shakespeare-The-Humorous-Grave-45527.aspx Best place to buy swtor credits buy with fast delivery and big discount.Certainly, Gov. Paul LePage is right that the state should reconsider its benefits and pension packages, especially in light of depressed state revenues. Raising the retirement cheap tor credits age, especially when young people added to the payroll are expected to live much longer than current retirees, makes sense. 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She said everyone with lupus nephritis should be given the drug hydroxycholoquine, and if there's any sign of protein in the urine, they should also be on blood pressure lowering medications called ACE inhibitors or angiotensin receptor blockers (ARBs). These have a protective effect on the kidneys, independent of their ability to lower swtor cheap credits blood pressure. If cholesterol is high, it's important to get the "bad" (LDL) cholesterol under control, said Hahn.. After I was buy credits swtor interrogated, I was taken back to the underground jail. Later, Americans came and interrogated me. I was told it was Kandahar, but I wasn't sure. Because of a fluke of orbital timing, the full moon of May peaked late Saturday just as the moon was passing its perigee, the closest point to Earth of its orbit. The result was the biggest full moon of the year, which NASA and other scientists nicknamed the supermoon of 2012. Almond said the moon was a captivating sight from her apartment balcony. "This has been a nightmare for my 2015-06-25T01:36:01.123-04:00 http://75.150.148.189/free-essay/Best-place-to-buy-swtor-credits-kaufen-ban-with-fast-delivery-and-big-discount-35117.aspx Romeo and Juliet: Who is to Blame? Throughout history, there have been many deaths caused by love. In the famous play Romeo and Juliet written by William Shakespeare, the deaths of the star-crossed lovers can be blamed on many people. Romeo starts off madly in love with Rosaline, but becomes depressed because Rosaline did not love him back. Benvolio tries to cheer up the depressed Romeo by bringing him to a Capulet party. Romeo then falls in love with Juliet, daughter of Lord Capulet. With a burst of passion like Mentos falling into a Coke bottle, Romeo’s love for Juliet starts this whole tragedy. The people responsible for killing Romeo and Juliet in William Shakespeare’s play are the parents and friends of Romeo and Juliet, to remind the reader of the importance of making good friends and of having good communication with parents. Romeo and Juliet’s friends are the cause of the two lovers’ death because Benvolio convinces Romeo to attend a party hosted by the Capulets even though they were mortal enemies. This proves to be a bad idea because it causes Romeo to meet Juliet, causing this whole tragedy to unfold. Another person that should take the blame is Friar Lawrence. If Friar Lawrence did not say, “In one respect I’ll thy assist be: For this alliance may so happy prove to turn your household’s rancour to pure love”, and agree to marry Romeo and Juliet, Juliet would marry county Paris and live a long happy life (II, iii, 90-92). The only reason why Friar Lawrence agrees to marry Romeo and Juliet is because of the slim chance that the feud might end. As a result, both Romeo and Juliet die along with Mercutio, Tybalt, and County Paris. Lastly, the causes of the deaths are partly Mercutio’s fault because if Mercutio did not start a fight with Tybalt, then Romeo would not have to kill Tybalt to avenge Mercutio’s death. As a result, Romeo will not be banished by the Prince and might be able to stay with Juliet and live a happy life. In conclusion, Romeo’s bad choice of friends ultimately led to the death of both Romeo and Juliet. Another group to blame are the families of Romeo and Juliet, because if the two families did not hate each other, the two lovers will simply date each other like normal people. Secondly, if Lord Capulet heeds Tybalt’s 2014-11-04T19:17:21.473-05:00 http://75.150.148.189/free-essay/Romeo-and-Juliet-Who-is-to-Blame-35061.aspx INTRO: Characters in Macbeth and in the poetry of Robert Browning both present disturbed characters. Shakespeare’s play Macbeth was written in 1606, a year after Guy Fawkes attempted to blow up King James I and Parliament. This possibly suggests that Shakespeare was inspired to write Macbeth based on the plot of treason and ambition. Porphyria’s Lover and The Laboratory were written in the nineteenth century by Robert Browning; a century in which women started to gain more social status and a higher class. This links with the theme of power in both Macbeth and the poems. A common theme that will be explored in both texts is obsession which portrays how disturbed the characters really are. Shakespeare wrote Macbeth for King James I, who was very interested in witches and magic and then later wrote a book about witchcraft called Daemonlogie. Most of Shakespeare’s audience believed in magic, witches and witchcraft which is particularly important as it sets the supernatural theme in Macbeth. This gives an insight into the disturbed characters by appearing throughout the play in different forms; for example ghosts appearing, witches chanting and their prophecies. THEME OF SUPERNATURAL: THE very first characters we meet are the three witches who meet in foul weather speaking of thunder, lightning, fog and filthy air. Immediately the witches are symbolised as evil and this is further demonstrated in the spell “Fair is foul, foul is fair, Hover through the fog and filthy air.” The rhyming couplet the witches talk in is almost like a song or a chant which emphasises their power. Therefore, the witches are portrayed to believe in disharmony as the natural order of things are disrupted; this sets the tone for the rest of the play. A character shown to resemble the witches is Lady Macbeth whereby she calls on supernatural spirits “come you spirits”; this illustrates that Lady Macbeth is mentally unstable as she needs help to become evil. Another way in which the witches are conveyed as being disturbed is how they are able to speak Macbeths innermost thoughts; they know what to say and their timing is precise which shows they are unnaturally close and act with one mind. This is shown when the third witch predicts “Macbeth doth come.” Additionally, when the witches prophesised Macbeth will become King, Thane of Glamis and Thane of Cawdor, Macbeth is curious and asks lots of questions. However the witches just 2014-03-19T16:12:19.383-04:00 http://75.150.148.189/free-essay/How-does-Shakespeare-present-Macbeth-as-a-disturbed-character-and-how-are-the-character-s-in-Robert-Browning-s-poems,-The-Laboratory-and-Porphyria-s-Lover-similar-35010.aspx Julia Blattner April 30, 2012 English 110-G Professor James May The Humorous Grave Shakespeare, throughout his many works, has often used a fool in his work to give comic relief to an otherwise intense situation; examples of this would include the Porter in Macbeth as well as the Jester in King Lear (Clark). Hamlet is no exception to this unwritten rule, as the first gravedigger is the fools whose scene brings about levity to an otherwise tragic situation (Ramadhana). The gravediggers’ scene, Act V Scene I, plays an instrumental role in Hamlet, as it is a two-fold scene showing not only surface humor but also deep philosophy through the first gravedigger himself whose character is a comedian and a philosopher of future death in the play (Duggan). The gravediggers begin the scene by allowing the audience to see how common death is in the lives of these two characters, and to begin the scene with comedy to lighten a very dark mood as immediately prior to this scene Ophelia drowned herself (Davidson). Suicide would have been a reason for Ophelia to not receive a Christian burial within the church thus separating her from the deaths of other people and from her own family as she could not be buried in the church graveyard if she committed suicide. The thing that separates the occurrence of death from one person to another in this play is not if each person dies but how each person dies as exemplified in the conversation between the two gravediggers here, “Gravedigger: Is she to be buried in Christian burial, when she willfully seeks her own salvation? Other: I tell thee she is. Therefore make her grave straight…Gravedigger: How can that be unless she drowned herself in her own defense? …Give me leave. Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, is it…he goes…But if the water come to him and drown him, he drowns not himself” (Shakespeare 239). The audience is well aware that water cannot get up and drown a man on its own, but the humor and casualness with which the gravedigger speaks regarding Ophelia’s death shows the reader that death is an everyday occurrence and has become a point of comedy in the lives of the gravediggers (Davidson). This scene serves to show that the first gravedigger serves as comic relief in this heavy tragedy of Ophelia’s 2013-04-08T12:28:38.887-04:00 http://75.150.148.189/free-essay/Hamlet,-The-Gravediggers-Scene-34852.aspx Relationship is the key subject throughout the whole play. I agree with statement of ‘Claudio and hero may be the young lovers but Beatrice and Benedick are much more appealing.’ As a comedy it is known in Shakespeare’s time to have misunderstandings, confusion and end in a wedding or in a play. Much ado does the exact of the conventions of a comedy, the play is filled with different variety of events and confused identity. In the play much ado Shakespeare emphasizes two different presentation of love via Claudio and Hero, and Beatrice and Benedick. There is evidently a contrast between the love of Claudio and Hero and Beatrice and Benedick, as in their characteristics and attributes. Claudio and Hero relationship is more serious, whereas Benedick and Beatrice is more about arguing and comedy. Claudio and Hero’s relationship being simply conventional and apparent where as Beatrice and Benedick’s based on their wit and deeper feelings. "Lord! I could not endure a husband with a beard on his face: I hath rather lie in the woollen." This quotation is mostly applied to Benedick as we know he is a person with a beard which is why Beatrice trying to make fun out him but inside she has a different feeling for him. Beatrice is the niece of Leonato, a wealthy governor of Messina. Though she is close friends with her cousin Hero, Leonato’s daughter, the two could not be less alike. Whereas Hero is polite, quiet, respectful, and gentle, Beatrice is feisty, cynical, witty, and sharp. Beatrice keeps up a “merry war” of wits with Benedick, a lord and soldier from Padua. The play suggests that she was once in love with Benedick but that, he led her on and their relationship ended. Now when they meet, the two constantly compete to outdo one another with clever insults. This is why Beatrice and Benedick is much more appealing then Claudio and Hero by arguing with each other makes them more dominant in the play. Benedick is the willful lord, recently returned from fighting in the wars, who vows that he will never marry. He engages with Beatrice in a competition to outwit, outsmart, and out-insult the other, but to his observant friends, he seems to feel some deeper emotion below the surface. Upon hearing Claudio and Don Pedro discussing Beatrice’s desire for him, Benedick vows to be “horribly 2012-03-15T13:48:22.84-04:00 http://75.150.148.189/free-essay/Much-Ado-About-Nothing-34511.aspx God created us with different characteristics and our own self-concusses. But people will think about this play with anger and hate. What I am talking about is the wickedness and the cruelty set in this play. If we are to have a happy ending, we are to reflect on one's action and hope that we have the knowledge and the common sense to see and change our wicked ways. In Shakespeare's 5th play, King Lear, there are two rules of man that we are suppose to see. One is " What goes around, comes around". The second is "Evil never wins." So our question is "Did King Lear deserved to be rejected by his daughters?" The answer is no. So I choose to take the side of King Lear, try to be a loyal servant and to see how this question came into this conclusion. The first reason is that King Lear is that he is old and he has been through a lot. Even though he made some wrong decisions, it isn't right to kick out a member of the family and to say that "Your on your own." The evidence is when the first daughter, Goneril, kicked him out only half the time when she was supposed to keep him. His second daughter, Regan, rejects him completely. This is cruel and unusual because he gave his daughters everything they may possibly want: money, wealth and power. After he was stripped of his power, his daughters backstabbed him. They told him that they loved him in order to get his power. After that, he was no use to them. The second reason why King Lear shouldn't be rejected from his family is because in the beginning of Shakespear's play, King Lear starts off as a respected and powerful king. As the story progresses, the king loses his power because of his own stupidity and blindness. Reasons that I think why the king lost power due to his own stupidity and blindness is because he could of had bad advice. Another valid reason is because of his wealth. People are known to be foolish or to listen to the foolish because of their own greed. One more reason why King Lear shouldn't be rejected from his family is because of his power. People with power grow to be corrupt and breaking the bonds of their subject(just like King Solemn who lived in a life of 2012-01-15T21:22:23.117-05:00 http://75.150.148.189/free-essay/Good-Vs-Evil-in-King-Lear-34434.aspx In Shakespeare's "A Midsummer Night's Dream" the mortal teenage characters fall in love foolishly, and the character Bottom states, "O what fools these mortals be". They are foolish because they act like children. Although Lysander, Hermia, Demetrius, and Helena appear grown-up, when they are in love they act foolishly. The four teenage lovers are fools. Demetrius is a fool because he is unaware that his love changes through out the play. At the start of the play Demetrius does not love Helena. (II ii,line 188) Demetrius says, "I love thee not, therefore pursue me not." (II ii,line 194) "Hence, get thee gone, and follow me no more." In III ii, Demetrius after being juiced begins to love Helena. (III ii,line 169-173) Demetrius says, "Lysander, keep thy Hermia; I will none. If e'er I loved her, all that love is gone. My heart to her but as guest- wise sojourned, And now to Helen is it home returned, There to remain." This proves he is a fool, because he is not aware of his changing love for Helena. Helena is a fool because Demetrius does not love her but she still persists in chasing him. Demetrius shows no love for Helena. (II i,line 227-228) Demetrius says, "I'll run from thee, and hide me in the brakes, And leave thee to the mercy of wild beasts." (II i,line 199-201) "Do I entice you? Do I speak you fair? Or rather do I not in plainest truth Tell you I do not, nor I cannot love you?" Demetrius clearly illustrates to Helena that he has no interest, but Helena persists. (II i,line 202-204) Helena says, "And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you." (II i,line 220-222) "Your virtue is my privilege. For that It is not night when I do see your face, Therefore I think I am not in the night;" This proves that Helena is a fool because Demetrius does not love her, but she still persists. Lysander is a fool because he persuades Hermia to avoid death and run away with him. Hermia must marry Demetrius or she will be put to death. (I i,line 83-88) Theseus says, "Take time to pause, and, by the next new moon- The sealing-day betwixt my 2012-01-13T11:56:30.12-05:00 http://75.150.148.189/free-essay/An-Overview-of-Shakespeare-s-A-Midsummer-Night-s-Dream-34424.aspx "I am not what I am." What is Iago? -- as distinct from what he pretends to be -- and what are his motives? In Shakespeare's, Othello, the reader is presented the classic battle between the deceitful forces of evil and the innocence of good. It are these forces of evil that ultimately lead to the breakdown of Othello, a noble venetian moor, well-known by the people of Venice as a honourable soldier and a worthy leader. Othello's breakdown results in the muder of his wife Desdemona. Desdemona is representative of the good in nature. Good can be defined as forgiving, honest, innocent and unsuspecting. The evil contained within Othello is by no means magical or mythical yet is represented by the character Iago. Iago is cunning, untrustworthy, selfish, and plotting. He uses these traits to his advantage by slowly planning his own triumph while watching the demise of others. It is this that is Iago's motivation. The ultimate defeat of good by the wrath of evil. Not only is it in his own nature of evil that he suceeds but also in the weaknesses of the other characters. Iago uses the weaknesses of Othello, specifically jealousy and his devotion to things as they seem, to conquer his opposite in Desdemona. From the start of the play, Iago's scheming ability is shown when he convinces Roderigo to tell about Othello and Desdemonda's elopement to Desdemona's father, Brabantio. Confidentally Iago continues his plot successfully, making fools of others, and himself being rewarded. Except Roderigo, no one is aware of Iago's plans. This is because Iago pretends to be an honest man loyal to his superiors. The fact that Othello himself views Iago as trustworthy and honest gives the evil within Iago a perfect unsuspecting victim for his schemes. The opportunity to get to Desdemona through Othello is one temptation that Iago cannot refuse. He creates the impression that Desdemona is having an affair with Cassio in order to stir the jealousy within Othello. It is this jealousy and the ignorance of Othello that lead to the downfall of Desdemona; the one truely good natured character in the play. As the play opens we are 2012-01-13T11:52:33.087-05:00 http://75.150.148.189/free-essay/The-Battle-of-Good-vs_-Evil-in-Shakespeare-s-Othello-34423.aspx Shakespeare's tragedy King Lear is a detailed description of the consequences of one man's decisions. This fictitious man is Lear, King of England, who's decisions greatly alter his life and the lives of those around him. As Lear bears the status of King he is, as one expects, a man of great power but sinfully he surrenders all of this power to his daughters as a reward for their demonstration of love towards him. This untimely abdication of his throne results in a chain reaction of events that send him through a journey of hell. King Lear is a metaphorical description of one man's journey through hell in order to expiate his sin. As the play opens one can almost immediately see that Lear begins to make mistakes that will eventually result in his downfall. The very first words that he speaks in the play are :- "...Give me the map there. Know that we have divided In three our kingdom, and 'tis our fast intent To shake all cares and business from our age, Conferring them on younger strengths while we Unburdened crawl to death..." (Act I, Sc i, Ln 38-41) This gives the reader the first indication of Lear's intent to abdicate his throne. He goes on further to offer pieces of his kingdom to his daughters as a form of reward to his test of love. "Great rivals in our youngest daughter's love, Long in our court have made their amorous sojourn, And here are to be answered. Tell me, my daughters (Since now we will divest us both of rule, Interest of territory, cares of state), Which of you shall we say doth love us most? That we our largest bounty may extend where nature doth with merit challenge." (Act I, Sc i, Ln 47-53) This is the first and most significant of the many sins that he makes in this play. By abdicating his throne to fuel his ego he is disrupts the great chain of being which states that the King must not challenge the position that God has given him. 2012-01-13T11:33:10.87-05:00 http://75.150.148.189/free-essay/An-Overview-of-King-Lear-34422.aspx King Lear, by William Shakespeare, is a tragic tale of filial conflict, personal transformation, and loss. The story revolves around the King who foolishly alienates his only truly devoted daughter and realizes too late the true nature of his other two daughters. A major subplot involves the illegitimate son of Gloucester, Edmund, who plans to discredit his brother Edgar and betray his father. With these and other major characters in the play, Shakespeare clearly asserts that human nature is either entirely good, or entirely evil. Some characters experience a transformative phase, where by some trial or ordeal their nature is profoundly changed. We shall examine Shakespeare's stand on human nature in King Lear by looking at specific characters in the play: Cordelia who is wholly good, Edmund who is wholly evil, and Lear whose nature is transformed by the realization of his folly and his descent into madness. The play begins with Lear, an old king ready for retirement, preparing to divide the kingdom among his three daughters. Lear has his daughters compete for their inheritance by judging who can proclaim their love for him in the grandest possible fashion. Cordelia finds that she is unable to show her love with mere words: "Cordelia. [Aside] What shall Cordelia speak? Love, and be silent." Act I, scene i, lines 63-64. Cordelia's nature is such that she is unable to engage in even so forgivable a deception as to satisfy an old king's vanity and pride, as we see again in the following quotation: "Cordelia. [Aside] Then poor cordelia! And not so, since I am sure my love's More ponderous than my tongue. " Act I, Scene i, lines 78-80. Cordelia clearly loves her father, and yet realizes that her honesty will not please him. Her nature is too good to allow even the slightest deviation from her morals. An impressive speech similar to her sisters' would have prevented much tragedy, but Shakespeare has crafted Cordelia such that she could never consider such an act. Later in the play Cordelia, now banished for her honesty, still loves her father and displays great compassion and grief for him as we see in the following: "Cordelia. O my dear father, restoration hang Thy medicine on my lips, and let this kiss Repair those violent harms that my two sisters Have in reverence made." Act IV, Scene vii, lines 26-29. Cordelia could be expected to display bitterness or even satisfaction 2012-01-13T11:26:24.49-05:00 http://75.150.148.189/free-essay/An-Analysis-of-King-Lear-34421.aspx In Shakespeare's comedy, "The Taming of the Shrew," one of the main ways that the theme is shown is by mistaken identity. The main theme of this play is that what a person is really like is more important than how they appear to be. This is shown by Petruchio's relationship with Katherine; the changing roles of Tranio, Lucentio, and Hortensio; and the true characters of Bianca and Katherine. All three of these situations help to enrich the theme. The first predicament that supports the theme is Petruchio's relationship with Katherine. When we first meet Petruchio, he is only after the money of Katherine, and accepts her harshness as simply a goal he must overcome. He is mistaken for a person who is only after money, not love at all. Yet when he meets Kate, he begins to fall for her. While he still argues and attempts to train her, it is for his own benefit. He wants her to be less harsh so she can fall in love with him. Petruchio ends up truly caring for and loving Kate, despite the front he puts up having his true identity revealed. As a result of this Katherine, whom we thought would never love anyone, at the end of the story is the only wife who comes when she is beckoned. The other wives only make up excuses. This shows how Kate has a mistaken identity becuase she appears rude and insolent. This situation is one of the ways Shakespeare uses mistaken identity to display theme. Another part of the theme is that when a person changes outfit's and roles, their personalities and attitudes stary the same. The first and most prominent role change is the one between Lucentio and Tranio. Lucentio, in order to marry Bianca, exchanges outfits with his servant Tranio in order to become a tutor for Bianca. Although Tranio appears to be a nobleman, he is really just a simple servant. His identity did not change despite the fact that his outfit did. In the same fashion, Lucentio becomes Cambio, the tutor. His true self is as a nobleman, but due to his love of Bianca, he tries to change himself. Just 2012-01-13T09:03:30.907-05:00 http://75.150.148.189/free-essay/The-Taming-of-the-Shrew-34420.aspx William Shakespeare was a great English playwright, dramatist and poet who lived during the late sixteenth and early seventeenth centuries. Shakespeare is considered to be the greatest playwright of all time. No other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare was born to middle class parents. His father, John, was a Stratford businessman. He was a glove maker who owned a leather shop. John Shakespeare was a well known and respected man in the town. He held several important local governmental positions. William Shakespeare's mother was Mary Arden. Though she was the daughter of a local farmer, she was related to a family of considerable wealth and social standing. Mary Arden and John Shakespeare were married in 1557. William Shakespeare was born in Stratford in 1564. He was one of eight children. The Shakespeare's were well respected prominent people. When William Shakespeare was about seven years old, he probably began attending the Stratford Grammar School with other boys of his social class. Students went to school year round attending school for nine hours a day. The teachers were strict disciplinarians. Though Shakespeare spent long hours at school, his boyhood was probably fascinating. Stratford was a lively town and during holidays, it was known to put on pageants and many popular shows. It also held several large fairs during the year. Stratford was a exciting place to live. Stratford also had fields and woods surrounding it giving William the opportunity to hunt and trap small game. The River Avon which ran through the town allowed him to fish also. Shakespeare's' poems and plays show his love of nature and rural life which reflects his childhood. On November 28, 1582, Shakespeare married Anne Hathaway of the neighboring village of Shottery. She was twenty-six, and he was only eighteen at the time. They had three children. Susana was their first and then they had twins, Hamnet and Judith. Hamnet, Shakespeare's son, died in 1596. In 1607, his daughter Susana got married. Shakespeare's other daughter, Judith, got married in 1616. In London, Shakespeare's career took off. It is 2012-01-13T08:32:01.857-05:00 http://75.150.148.189/free-essay/William-Shakespeare-the-Greatest-Playwright-34419.aspx This paper discusses specific questions about the way in which Shakespeare handles sexuality in this, one of his darkest comedies. (5.5 pages; 1 source; end notes) I Introduction “Measure for Measure” is one of Shakespeare’s “problem” plays. It’s the last of his comedies, and a very dark “comedy” it is too, particularly because of the disturbing last scene. All the loose ends are tied up, but the resolution seems forced and inappropriate, particularly as Angelo, who has behaved abominably, apparently finds happiness. One critic suggests that Shakespeare was tiring of comedies at the time, and that “Measure for Measure” looks forward to the great tragedies rather than back to the fun of the earlier works. In addition, the main characters are not particularly likeable: Angelo is revealed to be a hypocrite and sensualist; and the Duke gives Angelo the dirty work to do in enforcing unpopular laws while he disguises himself as a friar to see how his subjects react to the new regulations. Angelo, in effect, will be the one who takes the blame. The scene is Vienna, and Shakespeare never shifts from that locale. In many of the other comedies, there are two principal locations: the real world and a heightened world in which extraordinary events take place: Athens, and the enchanted wood outside the city in “Midsummer Night’s Dream” for example. But here Shakespeare stays in the city, exploring its corruption and focusing on the sensuality of the Viennese and the problems it causes. It gives the play a more realistic, even claustrophobic, feel than we get in the other comedies, which allow us to escape from reality. Perhaps because it is realistic, sexuality is the keynote of the play; I would argue that most humans think about sex more than anything else, and that preoccupation is certainly present here. Angelo becomes obsessed with Isabella, a young nun; Isabella’s brother Claudio has impregnated his common-law wife Juliet, and her pregnancy has resulted in his death sentence; and the Duke, inexplicably, falls in love with Isabella. There is a character named “Mistress Overdone” who is the madam of a house of pleasure, and who doesn’t disguise her occupation. Shakespeare’s plays are often very bawdy, but they are also frequently full of true love and captivating lovers: Romeo and Juliet; Beatrice and Benedick; Antony and Cleopatra. 2011-10-26T14:02:38.843-04:00 http://75.150.148.189/free-essay/Sexuality-in-Measure-for-Measure-34135.aspx This paper discusses the way in which Shakespeare uses nature in the two plays, and argues that the moor and the storm is the place to go to escape back to nature. (5.5.pages; 2 sources; end notes) I Introduction Shakespeare makes greater use of Nature in both “King Lear” and “The Winter’s Tale” than he does in most of his other plays. “Lear” in particular is renowned for it: the “storm on the heath” is one of the most celebrated scenes in all of theater. But the storm is violent, cold, miserable, and frightening: a reminder that Nature can be deadly. In contrast, the natural world that we find in “The Winter’s Tale” is quiet and beautiful, the world of springtime, flowers, rebirth and growth. Nature here is benign and friendly; almost as if it’s celebrating the restoration of Hermione to Leontes and the love of Perdita and Florizel along with the humans in the play. This paper describes the way in which Shakespeare uses nature in these plays, and discusses whether these places are the types of environment where one can get “back to nature,” or if they reflect human intervention. II ”King Lear” “King Lear” has been controversial since it was written. Critics can’t seem to decide if it’s a great play, great Shakespeare, both, or neither. They tend to dislike the basic premise (what king in his right mind would divide his kingdom?), but admit that the gradual disintegration of Lear, the plots of his daughters, and the moment when he appears with Cordelia’s body (“Howl! Howl! Howl!”) are all great theater. And the centerpiece of this intensely theatrical play is the storm on the heath, in which the old king strips himself naked, his mind in turmoil, his emotions as much a whirl as the elements. Most critics tend to equate the storm with Lear’s emotional state; that is, they see the violence of nature as a direct reflection of Lear’s violent feelings about his circumstances. This is certainly a valid interpretation, because we have watched as the king endures shock after shock at the hands of his ungrateful daughters, Regan and Goneril; they have systematically stripped him of his retinue and left him little better than a beggar at the doors of their houses, where he is forced to ask them for shelter. When the two women finally suggest that he 2011-10-26T14:01:23.11-04:00 http://75.150.148.189/free-essay/Nature-and-Space-in-King-Lear-and-The-Winter’s-Tale-34134.aspx This paper examines Shakespeare’s use of the word / concept “wholeness” in this play. (4 pages; 1 source; MLA citation style. I Introduction Shakespeare wrote two plays that deal, in essence, with the maturation of a young man from a rogue into a king. The Prince Hal who “hangs out” with Sir John Falstaff, participates in street brawls and robberies, who drinks and gambles and womanizes, becomes in the end one of England’s greatest kings. As we did in Part I, we’ll see if Shakespeare uses the word “wholeness” in this play, or if he uses other words, and if the latter, how he deals with the concept itself. II Discussion As in the first part, I’ve been unable to find the word “wholeness” used in Henry the Fourth, Part II. But the concept of wholeness, coming together, unity, or however we might think of it, is certainly one of the main themes of this play. The first part dealt with disintegration and duality, particularly in the character of Prince Hal, who is the heir to the throne and yet “hangs out” with Sir John Falstaff and other common rogues much to the despair of his father. In this part, we see the resolution of the Prince’s inner conflict, as well as his reconciliation with his father and his assumption of the heavy duties of kingship. It is this fusion that is really the greatest example of “wholeness” in the play. Throughout Henry the Fourth, Part I and most of Part II, we have seen Prince Hal as a scoundrel; a young man who enjoys drinking and women, and delights in keeping company with Falstaff. We also see that his father, King Henry IV, thinks little of his son, and fears that he will be a very poor king indeed. (We also know something the king doesn’t—that Hal has no intention of continuing his questionable behavior when he becomes king.) But of course his father doesn’t know that, and in Act IV, King Henry IV advises one of his other sons, Thomas Duke of Clarence, to remain close to his brother, because Hal loves him: “How chance thou art not with the Prince thy brother? / He loves thee, and thou does neglect him, Thomas. / Thou hast a better place in his affection / Than all thy brothers. Cherish it, my boy;” (Act 2011-10-26T12:00:50.74-04:00 http://75.150.148.189/free-essay/Shakespeare-Henry-the-Fourth,-Part-II-34066.aspx This paper examines Shakespeare’s use of the word/concept “wholeness” in the first act of this play. (4 pages; 1 source; MLA citation style. I Introduction Shakespeare is still read and performed because his insights into human nature were profound and true. His psychological ability is matched by his linguistic talent: he uses language beautifully to convey his meaning. This paper examines Shakespeare’s use of the word “wholeness” in Henry the Fourth, Part I, Act I. II Discussion Despite a careful reading of the act, I didn’t find the word “wholeness”. It may be that I got so wrapped up in following the plot that I simply missed it, but since I read carefully I assume it’s not there. Or perhaps the edition I have has used another word in place of “wholeness.” “Wholeness” is the noun made from the adjective “whole” and that word has several meanings, including both “complete” and “healthy.” However, Shakespeare doesn’t use these words, either; at least not in an obvious way. (I was looking for one word that is conspicuous by appearing repeatedly, as in “To be or not to be” or “Tomorrow and tomorrow and tomorrow…”). Since Shakespeare hasn’t used any synonyms for “wholeness” in this way, a linguistic approach fails. We have to look at the circumstances of the play and the characters who appear in it, and see if we can relate wholeness to them. Overall, the play seems to relate less to wholeness than to fragmentation: there is a rebellion brewing in the North; Prince Hal is playing almost a dual role (both heir to the throne and street thug); and Falstaff is at once an engaging character and a despicable man. Within this splintering scenario, we do find examples of cohesion, however. It’s almost as if Shakespeare wants us to find those words that speak of wholeness in the midst of chaos. The first speech in the play contains these lines: “Those opposed eyes … / All of one nature, of one substance bred, / Did lately meet in the intestine shock / And furious close of civil butchery / Shall now … / March all one way and be no more oppos’d…” (I, i, 9-15). What the king is saying is that the rebellion is over; there will be peace again. We can see this as an example of wholeness—rebellious factions will no 2011-10-26T11:59:39.27-04:00 http://75.150.148.189/free-essay/Shakespeare-Henry-the-Fourth,-Part-I,-Act-I-34065.aspx This paper examines Shakespeare’s use of the word / concept “wholeness” in the second act of this play. (4 pages; 1 source; MLA citation style. I Introduction Shakespeare wrote two plays that deal, in essence, with the maturation of a young man from a rogue into a king. The Prince Hal who “hangs out” with Sir John Falstaff, participates in street brawls and robberies, who drinks and gambles and womanizes, becomes in the end one of England’s greatest kings. In this paper, we’ll examine the word “wholeness” and the ways in which Shakespeare uses it in Act II of Henry the Fourth, Part I. II Discussion As in the first act, I’ve been unable to find the word “wholeness” used in Henry the Fourth, Part II, Act II. Nor have I found a pattern of usage of any of the word’s common synonyms. Once again, then, we have to explore the text itself and the ideas presented to discover Shakespeare’s meaning with regard to wholeness, rather than taking a linguistic approach. Act I deals not with wholeness, meaning either “complete” or “undiseased”, but with its opposite: divisiveness. There is an armed rebellion in the kingdom, and Prince Hal is playing the part of a young punk; i.e., assuming a dual identity, which we can view as a sort of “split personality”—even though his actions are deliberate and not the result of illness. The act is full of doubles of all kinds. Shakespeare doesn’t use the word “wholeness” in the second act, so as we did with Act I, we have to look at the larger picture to see how the concept might apply. There are three main actions in this act: the robbery; Hotspur’s scene with his wife; and the moment when Falstaff, at the prince’s urging, pretends to be the king. The first shows us Hal, Falstaff and the others playing pranks on each other; the second shows us a different view of Hotspur than we’ve seen previously; and the last also shows us a different view of Prince Hal. When Falstaff says “… banish plump Jack, and banish all the world,” Hal replies, “I do, I will.” (II, ii, 480-481). Falstaff is joking but Hal is deadly serious and it’s a very chilling moment in theater, for we know that Hal will, in the end, turn his back on Falstaff and break the old man’s 2011-10-26T11:57:34.97-04:00 http://75.150.148.189/free-essay/Shakespeare-Henry-the-Fourth,-Part-II,-Act-II-34064.aspx The Jews were a group of proud people who were unfortunately discriminated against, humiliated and harassed by Christians mainly during the Middle Ages. Hostility or injustice directed at Jews is called anti – Semitism. There were many examples of anti – Semitism, including a famous playwright called William Shakespeare who wrote, embarrassed and made the Jews appear evil in his works. An issue that he brought to life was the fact that Jews are violent and practice usury (which can be observed in the Merchant of Venice when Shylock demands a pound of Antonio’s flesh). Anti – Semitism was widely accepted and practiced by Christians, and this affected almost all of the Jews. They were blamed and criticised for many things such as usury, bringing bad luck, and for most uneventful happenings. Anti – Semitism further went on, and Jews were restricted to having jobs of low profession, and thus, some became considered to be socially inferior. However, there were a few who had successful jobs in being money lenders. Christian law decreed that money lending for interest was a sin, and therefore Christians were unable to take up this career. On the other hand, Jews weren’t bound to this law, and were free to do as they pleased. Another issue was that the Christians were vandalised nearly all of the Jews’ property. The synagogues, schools and houses were burnt as well as the prayer books. Soon after, the Jews were forced to live separate areas, called ghettos. These ghettos have been regarded as prisons, but Jews have also been able to practice their religion safely. In 1290, King Edward banished them from England, and only a few remained behind either because they converted to Christianity or because they received special protection for the services that they had previously provided. The reason for this was because there were many superstitions and stereotypes going around about the Jews, and also because the Christians strongly detested the Jews. The Christians believed that the latter were devils and the anti – Christ, and this was the main reason why the Jews were hated. There were many actions that resulted from this idea: some tried to force the Jews to become Christian, while others tried to banish them from the country. On stage, Jews were portrayed as being clumsy, insolent, greedy, 2008-02-17T10:12:07-05:00 http://75.150.148.189/free-essay/Was-Shakespeare-Himself-Anti-Semitic-33521.aspx In the 16th century, Jews were discriminated against especially in England and Venice. Christians believed that the Jewish race was inferior to them and that Jews should not be accepted into their society. The following paragraphs will explore the sufferance of and discrimination against the Jews through Shylock’s speech in act one, scene three, lines 102 to 124. Firstly, the Jews are often ‘rated’ by Christians ‘in the Rialto, as seen from the first two lines of Shylock’s speech: “… many a time and oft/ In the Rialto you have rated me”. ‘Rated’, in this context, means to berate, or, in other words, to criticise. Shylock was probably reminded of this issue through the word ‘rate’ in his previous speech: “…… then let me see the rate”. Hence, we can see that the Jews are probably so constantly berated that this issue could create such an impact in Shylock’s mind. Also, Jews of that time were probably accustomed to stoical endurance, wearing it like a ‘badge’, as seen in line 106: “For sufferance is the badge of all our tribe.” They are called names such as “misbeliever” and “cut-throat dog”, spit upon (“spit upon my Jewish gabardine”), and kicked (“foot me as you spurn a stranger cur”) by Christians. This shows that they have been suffering because they collect interest for the money they lend out, as seen from line 109: “all for use of that which is mine own.” This shows that Jews in Venice during the 16th century are abused mentally and physically due to the fact that they collect interest for the money which they lend out. Despite this abuse by the Christians, the Jews do not complain about their sufferings. They could only”borne it with a patient shrug”. This shows that they have no human rights and could not stand up to the Christians even though they were being abused. They were probably of lower classes or even outcasts in the Venetian society during the 16th century. In addition, Jews are openly discriminated and they are aware of it. This can be seen in line 119 where Shylock asks if he should “bend low, and in a bondman’s key …” a bondman is probably something like a slave during that time. This shows that he most probably knows that the Jews are considered to be inferior in that society, just like a slave. This shows that Jews 2007-08-10T02:23:54-04:00 http://75.150.148.189/free-essay/The-Lives-of-the-Jews-in-Venice-During-the-16th-Century-33311.aspx Love and Politics in "Antony And Cleopatra" Love and politics are two themes central to the story of ‘Antony and Cleopatra.’ Antony, the hero of the tragedy, is seen as a man caught between two worlds- the fantasy microcosm of Alexandria, and the titanic responsibilities and honors of the triumvirate, whilst his lover Cleopatra is the ruler of Egypt. Between them, they have political authority over half the known world, so theirs is a relationship embroiled in political significance. The language that Shakespeare uses to portray these two principle dimensions of the play is therefore integral, in order to evoke the tragedy the author intends. For Antony and Cleopatra’s tragedy explores almost a crown on death, a total, unprecedented political collapse. The two extremes, love and death, seem to unite in speech. The culmination of the play sees to die as symbolic of total love. Conversely, to love is also to die. Enobarbus, Charmian, Iras, Cleopatra and Antony all die at the height of their love or loyalty. Clearly such tragedy of political and romantic importance requires a diverse and complex deployment of language, and it is this technique that I now seek to explore. The language of love in ‘Antony and Cleopatra’ is one of the plays greatest pleasures. The magnificence of the poetic lexis is what elevates the characters in the imagination, and sustains their larger than life status. It is majestically exaggerated- take the picture of Cleopatra on her barge sailing down the river Cydnus to meet Antony, which ends in a praise of her “infinite variety” she herself envisages Antony as “the demi-Atlas of this earth.” Her dream of Antony after he is dead “his legs bestrid the ocean” is similarly grand. Her response to the death of Antony, “the crown o’th’earth doth melt”, and her own words as she is about to commit suicide “give me my robe, put on my crown, I have Immortal longings in me” sustains the portrayal through language of the lovers, and their relationship, reaching beyond mortality. Certainly, this use of hyperbole in the language of love is one that is evident from the very start of the play, as Philo says of Antony “ this dotage of our generals o’erflows the measure” and continues when Cleopatra says to her lover “I’ll set a bourn how far to be belov’d,”he replies “Then must thou needs find out new heaven, new 2007-04-19T21:39:59-04:00 http://75.150.148.189/free-essay/Love-and-Politics-in-Antony-And-Cleopatra-33065.aspx Common Themes of the Shakespearean Tragedies William Shakespeare’s tragedies are often gripping plays with bloody endings that leave the audiences and readers breathless. Set in places like Rome, Venice, and even Denmark; these tragedies tend to end with all the cards lying on the table, or in other words, all the main characters are dead. Not all tragedies however, have to necessarily be self-contained tragic plays; in fact, many plays on Romance and Fantasy also have tragic characters, as we shall see in the upcoming examples. William Shakespeare not only creates tragedies within plays, but he creates tragic events within characters’ lives, which inevitably draws the audience in. Shakespeare uses tragedies to reveal the consequences of a leader’s actions and emotions. A.C. Bradley, who wrote Shakespearean Tragedy sums up the plot of a true tragedy in perhaps one of the best ways. First, he suggests that there is a “circle of events”(www.clicknotes.com) to all Shakespearean tragedies that “lead up to, and include, the death of the hero”. Secondly, there has to be a fall of the conspicuous person (such as Iago and Aaron), and third, the tragic character/hero must be a great man. Shakespeare definitely follows these rules, or more importantly, he created them, and in the meantime, set the standard for the modern day tragic hero as well. Perhaps one of the best know Shakespeare plays is Hamlet, where the premise is focused on a young Prince who has lost his father through the devious actions of his Uncle, who has also become his new stepfather. Readers can see many examples of a leader or a character in a leadership role fall from grace because of the way the characters all seem to go through role changes. The critic Michael Mangan has many insights into the character of Hamlet in his book A Preface to Shakespeare’s Tragedies by revealing the “role-playing”(139) aspect of the character. This ties-in nicely to the idea that Shakespeare creates a character that will inevitably fall due to his own actions, as it is the preempted acting that drives Hamlet’s family and friends to change his life for him. The death of King Hamlet left a somber setting to the introduction of Hamlet, and the young Prince is left to his own devices after learning of the true reasons for his father’s death. We 2007-04-18T00:25:48-04:00 http://75.150.148.189/free-essay/Common-Themes-of-the-Shakespearean-Tragedies-32932.aspx Life is a play. You can choose from right and wrong, but either way the decisions that you make will alter someone else’s future. Macbeth has a great deal of trouble deciding the difference between honest and dishonest decisions during his rise to power. Macbeth’s character reaches many questionable decisions that there for lead to his overthrowing. First Macbeth becomes overwhelmed with greed, and would stop at nothing until what he felt was his own. Next he betrays his loyal friends and superiors while trying to reach his goals. Finally Macbeth shows that he is gullible. These three traits are what I think caused Macbeths downfall, not only as king but to end his life. Macbeth’s first glimpse of greediness flickered after his first conversation with the three witches. The witches spoke about what would happen for him into the near future. This small act awakened Macbeth’s first sighting of greed that he had always possessed whether he knew it or not. Then Macbeth thought he deserved to be crowned king, and nothing would stop him while he tried to reach his goal. That was the first sign of Macbeth losing control of reality. He was a dreamer. Macbeth also showed much greed after honorably accepting the title Thane of Cawdor, but he was still not satisfied. Macbeth then plotted to murder his best friend Banquo and his son Fleance just to secure his position to become king. Macbeth’s greed then fogged his mind even more when he planned to kill Macduff’s innocent wife and children. Macbeth’s hunger began to control his life, and forced him to make executive decisions. This obviously expressed his evil ways and was killed because of it. Disloyalty is Macbeth’s second flaw in his character. Macbeth expresses this when he kills his king and good friend Duncan. Macbeth does not think before he acts anymore. He felt no fear or remorse after murdering Duncan, his only fear was safety and well being. Though Macbeth did not know this at the time, this murder was only a stepping stone for Macbeth’s future plans. Once Macbeth had finished killing Duncan, Macbeth completely switched personalities. From loyal and honest to a fantasy living traitor. This drove a wedge through many people and Macbeth. Macbeth’s second act of disloyalty was when he killed his best friend Banquo. Now if I was Macbeth, I sure would think twice about killing one of my very good friends, even 2007-03-24T07:04:44-04:00 http://75.150.148.189/free-essay/Who-to-Blame-with-Macbeth-s-Downfall-32871.aspx Brutus Character Analysis in Julius Caesar In the play Julius Caesar, the tragedy of the play was directed mainly at a one specific character, Marcus Brutus. Brutus was the tragic hero of the play, because of his idealistic and pragmatic qualities. The mindset that Brutus possessed only allowed him to see the world and its people from one point of view. This point of view allowed him to make judgments that assumed only the best of people. This tragic weakness resulted in many errors throughout the play. The major incidences such as decisions made during the orchard soliloquy, the discussion with Cassius and the conspirators regarding decisions about Antony and the oath, his speech to the commoners after Caesar's assassination and finally the outward circumstance regarding Titinius and Cassius in act 5. Brutus was too idealistic and lived in fantasy world in which he made all his decisions simply by expecting that all were as honourable as himself. Brutus' idealism was displayed when he was reviewing his decision to kill Caesar while in his orchard. While evaluating his feelings towards Caesar, he stated, " I know little personal cause to spurn at him, But for the general". Brutus felt that Caesar had not done anything incorrect, but was afraid of what might occur. He compared Caesar to a snake, which has the ability to sting. Just as one might step on the snake and be stung, Caesar might defeat anyone who interfered with his course of action. Brutus thinks about what Caesar could become and do, if he was given the power of the crown. A very descriptive metaphor was used to illustrate Brutus' reasoning for killing: That lowliness is young ambition's ladder, Whereto the climber-upward turns his face; But when he once attains the upmost round, He then unto the ladder turns his back, Looks into the clouds, scorning the base degrees By which he did ascend. Ambition was personified, and was granted the qualities of a person that could climb a ladder. Caesar, climbing the ladder of prosperity, would reach the top, and forget about the people of Rome and his fellow Senators. He would "look into the clouds" and indulge in the wealth and good fortune. This possible outcome caused Brutus to remember his love for Rome. A simile also compared Caesar to a snake that was contained 2007-03-20T03:43:23-04:00 http://75.150.148.189/free-essay/Brutus-Character-Analysis-in-Julius-Caesar-32845.aspx Great Gatsby How Money Blurred the Reality of Life for the Rich in the 1920's In Fitzgerald’s The Great Gatsby, Jay Gatsby is one who follows his dreams as though they are reality. He strives to construct his own perfect world. He builds his life of wealth and luxury in hopes of attracting an old love interest, Daisy. Gatsby’s power accrues and eventually creates his own destruction. In Gatsby’s world, little is actually reality. Everything about Gatsby is fake: his name, his past, his money, his friends, his ideas and his house. “For a while these reveries provided an outlet for his imagination; they were a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on a fairy’s wing” (105). He can not see the fine line between reality and fantasy. His mansion is the center of all that is fake where there is little that is unaffected. When Nick, Daisy’s cousin, observes Gatsby’s parties, he notices that Gatsby himself has little to do with his guests. Is this because he is a poor host? No. Gatsby’s guests come for the party. Since it is during the period of prohibition, Gatsby’s a bootlegger and his house is one of many places which people can obtain alcohol. He continues to throw elegant, expensive parties, in which he observes the gaiety in hopes that one day Daisy will appear. Week after week he waits for her. He has spent the past five years creating a life to which he thinks Daisy will be attracted. Previously, Gatsby’s mentor, Dan Cody, introduced him to a world of wealth. “The truth was that Jay Gatsby, of West Egg, Long Island, sprang from his platonic conception of himself. He was a son of God- a phrase which, if it means anything, means just- and he must be about His Father’s Business, the service of a vast, vulgar, and meretricious beauty” (104).He spied Cody’s yacht out on Lake Superior when he was seventeen. Gatsby rowed out to the massive boat and Cody questioned him. Cody was impressed with Gatsby’s striking personality. Cody then hired Gatsby to work on the ship, which was where they became good friends. “He was employed in a vague personal capacity – while he remained with Cody he was in run steward, mate, skipper, secretary and even jailor” (106). When Cody died, Gatsby was supposed to inherit twenty-five 2007-03-19T06:27:17-04:00 http://75.150.148.189/free-essay/Great-Gatsby-How-Money-Blurred-the-Reality-of-Life-32811.aspx Critical Analysis of King Lear by Shakespeare One of 20ths century’s questionably greatest poets and writers Maya Angelou has said, “Blindness is a disease that does not affect the eyes alone.” As some truths of human nature defy time and technology, the reality of this existed even in the Elizabethan era. Whether one agrees or disagrees with Shakespeare’s current status, one thing that cannot be denied was his devotion to targeting the basic flaw in all “good people” that inevitably causes their downfall. Similar to all Shakespearian plays, King Lear is essentially a tale about the human flaw of faulty perception. It is this imperfection that ultimately jeopardizes the lives and sanity of each character. Lear is fundamentally portrayed as a noble man. This assessment is alluded to through various means. His kingdom exists in tranquility. He is surrounded by advisors that prove themselves to be righteous. Yet, as the play opens the audience is exposed to a new light on Lear. By splitting his kingdom, he is sure to create a civil war. By asking his daughters to profess their love for him, he is asking more of them than obvious. It seems as though the responses he receives are measurements of greed not love. He is quick to believe Regan’s and Goneril’s claims of all consuming love for their father, though he has raised these children. Clearly his desire to hear kind words overrides the truth. In Cordelias case, the one daughter that refuses to make a mockery out of herself and her scared bond to her father says “nothing.” Lear mentions, “Nothing can come out of nothing.” Unfortunately he seems to only see this in convinet cases, such as money; he ignores its literal meaning. He hastily exiles Cordelia from his kingdom. Kent tries to knock some sense into Lear and is meet with the same misfortune as Cordelia; “out of my sight!” It seems as though Lear is able to keep anything out of his sight. His blindness is his need to be reassured of his stature as a man through others petty words and mannerisms. Lear went to great lengths in order to maintain a pleasant little fantasy; Cordelia is his polar opposite in this sense. Cordelia revels in the truth, hiding nothing and risking everything. She refuses "to speak and purpose not;" meaning that she will never 2007-03-06T22:35:49-05:00 http://75.150.148.189/free-essay/Critical-Analysis-of-King-Lear-by-Shakespeare-32755.aspx Shakespeare The Greatest? Shakespeare, William (1564-1616), an English playwright and poet, was and is recognized as the worlds greatest of all dramatists. Scholars have written thousands of books and articles about his shrewd plots, intriguing characters, astounding themes, and defining language. He is the most widely quoted author in history, and his plays have probably been performed more times than those of any other dramatist. He is literature's omnipresent. Hamlet is perhaps Shakespeare most famous play. It exceeds by far most other tragedies of revenge in the power of its ethical and psychological imagining. The play is based on the story of Amleth, a 9th-century Danish prince. Shakespeare Hamlet tells the story of the prince effort to revenge the murder of his father, who has been poisoned by Hamlet uncle, Claudius, the man who then becomes Hamlet stepfather and the king¦. Results in everyone lying dead and the prince marches in to claim the Danish throne. Hamlet is certainly Shakespeare most intellectually engaging and elusive play. Literary critics and actors turn to it again and again, possibly succeeding only in confirming the play inexhaustible richness and the inadequacy of any single attempt finally or fully to capture it. Romeo and Juliet is famous for its poetic treatment of the ecstasy of youthful love. The play dramatizes the fate of two lovers victimized by the feuds and misunderstandings of their elders and by their own hasty temperaments. Shakespeare borrowed the tragic story of the two young Italian lovers from a long narrative poem, The Tragic all History of Romeus and Juliet by English writer Arthur Brooke. Shakespeare, however, added the character of Mercutio, increased the roles of the friar and the nurse, and reduced the moralizing of Brooke work. The play made a spontaneous hit. King Lear, Conceived on a grander emotional and philosophic scale than Othello, it deals with the consequences of the arrogance and misjudgment of Lear, a ruler of early Britain, and the parallel behavior of his councilor, the Duke of Gloucester. Each of these fathers tragically banishes the child who most has his interests at heart and places himself in the power of the wicked child or children. Each is finally restored to the loving child, but only after a rending journey of suffering, and 2007-02-22T01:24:28-05:00 http://75.150.148.189/free-essay/Shakespeare-The-Greatest-32686.aspx Deceit in Hamlet Deceit is often used in politics and everyday life to acquire power and success. The theme of deceit is often repeated in Hamlet. Hamlet's hesitation in killing Claudius, and Hamlet's eventual death are a direct result of deceit in the court. Hamlet tries to deceive everyone into thinking that he is crazy. He believes that with this "antic disposition" he can kill Claudius without any consequences, and avenge his father's death. When Cladius and Polonius hear of Hamlet's madness, they decide to find out the reason behind it. They spy on Hamlet to figure out why he is acting this way. Through this Cladius learns that Hamlet is dangerous, and a threat to him. Hamlet's trickery also leads to the death of Ophelia and her father Polonius. As well as triggering Laertes to seek revenge on Hamlet for causing the death of his family. After several attempts to kill Hamlet fail, Claudius teams up with Laertes and tries to murder Hamlet once and for all. Each of these plans directly or indirectly causes Hamlet's death. After Hamlet talks to the ghost of his father, he finds out that Claudius killed him to gain the throne of Denmark. Hamlet has to get revenge by killing Claudius. To do this, he must act insane to draw away suspicion from himself. Hamlet says to Hortaio "How strange or odd some'er I bear myself as I perchance hereafter shall think meet to put an antic disposition on,"(I;v;170-172), this indicates that from this moment Hamlet will act insane. He believes this way he will be able to kill the king and get away with it. Polonius becomes aware of Hamlet's madness and wants to uncover the reason behind it. He says "Mad let us grant him then, and now remains, that we find out the cause of this defect, for this effect defective comes by cause."(II;ii;100-103). Claudius and Polonius spy on Hamlet and Ophelia as they talk. After hearing their conversation Claudius says "And I do doubt the hatch and the disclose will be some danger; which for to prevent, I have in quick determination thus set it down: he shall with speed to England"(III;i;163-166). This means that Claudius is starting to believe Hamlet is dangerous and wants to send him to England. From this point Claudius is very suspicious of Hamlet, he suspects that Hamlet is plotting against him, he says, "Madness 2007-02-02T18:27:28-05:00 http://75.150.148.189/free-essay/Deceit-in-Hamlet-32561.aspx Jealousy in "Much Ado About Nothing" and "Midsummer's Night Dream" Throughout both “Much Ado About Nothing” and “Midsummer’s Night Dream,” much jealousy is demonstrated. Not only do Claudio, in “Much Ado About Nothing,” and Oberon in “Midsummer’s Night Dream” become jealous with the woman they love, but they actually will succumb to revenge, embarrassment and rage to try to over come their jealously. Even though by the ending of both of the plays both characters get what they want, they have a constant battle with jealously to get there. Claudio, a very highly decorated general, arrives home from battle to Messina to greet Leonato, the governor, who is pleased with his accomplishments. In no time at all, Claudio meets Leonato’s daughter Hero, falls madly in love with her, and confesses his love to his dear friend Benedict. In no time, Don Pedro, leader of the army finds out this news and promises to woo Hero for Claudio. Leonato is also informed of Claudio’s love for his daughter, and is delighted to know that Don Pedro will woo his daughter for Claudio, and sends Don Pedro to tell Claudio that, when asked, Hero will accept his hand in marriage. This is where all the trouble begins. Don John, Don Pedro’s bastard brother, also hears all the news about how his brother will woo Hero for Claudio. Since Don John despises Claudio, he devises a plan to make Claudio think that Don Pedro is wooing Hero for himself. Don John does all of this with the help of Borachio. The two tell Claudio that Don Pedro plans to steal Hero for himself and Claudio becomes crushed and jealous. A good example of how he acts upon rage is when Benedict comes to invite Claudio outside, but Claudio refuses and snaps at Benedict, his good friend. Benedict approaches Don Pedro and tells him that it was not very nice that he wooed Hero for himself, and finds out that Don Pedro never had any intention of doing so. In fact, Don Pedro leaves to tell Claudio that Hero will accept Claudio’s hand in marriage. Claudio is so happy about this that his jealously diminishes momentarily. The second wave of jealously approaches quickly as Don John devises another plan to break Claudio and Hero apart. He makes Claudio think that 2007-01-29T05:09:16-05:00 http://75.150.148.189/free-essay/Jealousy-in-Famous-Shakespeare-Works-32474.aspx The Death of Creative Power in Shakespeare's Sonnet 73 Most of the 127 sonnets Shakespeare wrote to one of his close male friends are united by the theme of the overwhelming, destructive power of time, and the counterbalancing power of love and poetry to create and preserve beauty. Sonnet 73 is no different, but it does present an intriguing twist on this theme. Most of these sonnets address the youth and beauty of his male friend, as well as poetry's power to immortalize them, but number 73 addresses the author's own mortality and the friend's love for him. Also, subtly woven into this turning inward is a lament that the creative vitality represented by the poems themselves is fading away, along with Shakespeare's own life. Shakespeare seems to mourn most not his own mortality, but the fact that the creation of his love poems must itself one day cease, and this is a "death" more keenly felt by Shakespeare than mere mortality. As usual, the sonnet breaks into four convenient sections, the three quatrains and the ending couplet. Each segment presents a new image to drive the point home. The first quatrain begins "thou mayst in me behold," then the second "In me thou seest," and the third also "In me thou seest" again. This repetition lends unity to the theme, and helps convey ideas from one segment to the next. What follows in each stanza is a new image of decay and death. The sequence and relationship of these metaphors shows a conscious effort at continuity, showing the death of the creative power in various guises. The first quatrain uses one of the oldest metaphors for approaching age and imminent death there is, the coming of autumn. A couple of inventive images make the metaphor work in an especially apt way, however. In the first couple of lines, nothing is unusual; Shakespeare laments that when his friend looks at him, he sees "That time of year . . ./ When yellow leaves, or none, or few, do hang/ Upon those boughs which shake against the cold" (1-3). This is a straightforward complaint that, like autumn, the poet is moving gradually into old age, with the winter of death right around the corner. But Shakespeare's description of the tree limbs in their bare autumn dress is key to the whole poem. He calls them "Bare ruined choirs, where late the sweet birds sang." 2007-01-11T19:37:22-05:00 http://75.150.148.189/free-essay/The-Death-of-Creative-Power-in-Shakespeare-s-Sonnet-73-32370.aspx Counterpoint Within Shakespeare's Twelfth Night Shakespeare uses counterpoint throughout Twelfth Night to create an interesting story that captures the reader's attention. Counterpoint is a technique that incorporates multiple scenes happening simultaneously. These several scenes come together at the end of the work to produce a harmonious finish to an action-packed and appealing plot. In Twelfth Night these concurrent proceedings generate many misconceptions which provide the comical, somewhat ironic part of the play. The "love triangle" effect created by all the mistaken identities accounts for the main comic element in the play. It holds the audience's attention while strengthening the plot at the same time. In the end the "love triangle" gets straightened out and the play concludes with the marriage of Viola and Orsino, and the marriage of Olivia and Sebastian. The play opens up with Viola shipwrecked on the Adriatic seacoast, possibly having lost her brother, Antonio, to the depths of the sea. This is where Sebastian and Viola are separated and go their own way until they meet once again at the end. Since she learns that she would not be admitted to Olivia’s household, she decides to disguise herself as a man, Cesario, and seek refuge in the residence of the Count Orsino. She becomes Orsino's messenger, going to Olivia to communicate Orsino's love. Among one of Viola's many visits to the Lady Olivia, Olivia falls in love with the young boy, Cesario. Olivia is fully unaware that her love only appears to be a man, but is truly a woman underneath her guise. When Cesario (Viola) she has become the lady's fancy, she, herself, confesses her love for the Count Orsino. Meanwhile, Sir Toby Belch, Olivia's kinsman, decides that he will find Olivia a suitor. Sir Andrew Aguecheek now comes into the picture. Toby convinces Andrew to attempt to win Olivia’s heart, even though Sir Andrew himself knows he is incapable of such a task. Andrew efforts are futile because Olivia's heart will have attached itself to a future acquaintance, namely Cesario. Later on, Sir Toby along with Aguecheek and Maria, concoct a plan to fool Olivia's steward, Malvolio, into thinking that Olivia has fallen for him. Maria writes a letter, pretending to be Olivia, saying Malvolio should come to her in yellow, cross-gartered stockings with a smile on his face all the while. He follows the directions stated in the letter, but much to his surprise the sight 2007-01-11T05:43:10-05:00 http://75.150.148.189/free-essay/Counterpoint-Within-Shakespeare-s-Twelfth-Night-32364.aspx Comparing Shaekspeare Characters Macbeth and Claudius The conscience is very powerful. It can either lead one in the right direction, or when ignored, can be the very cause of one’s ultimate destruction. When listened to, the conscience gives a clear evaluation of one’s current status. It will then lead one to the correct, moral decision. At this point, and there are many of these points during the course of a lifetime, one’s life can be significantly altered. One could make the conscious decision to not follow one’s conscience and therefore suffer the consequences, or listen to his conscience and reap the benefits. If one has chosen to ignore the numerous warnings by his conscience, thus will begin one’s downfall until the next point. After ignoring the conscience, it does not leave the mind. On the contrary, it stays with that person and proceeds to make the person see the wrong in the injustice he has done. The next decision made is an important one. He could realize his wrongdoing and repent, or he could allow himself to be tormented by his conscience. This torment will cause him to continue making decisions that oppose his conscience. Thus is the eternal decision by both Macbeth and Claudius. Throughout Hamlet and Macbeth, by William Shakespeare, Macbeth and Claudius experience torment by their conscience for treasonous murders committed in vain, against Duncan and Hamlet Sr., and this torment introduces them to a life of guilt and loneliness. Macbeth visits the three weird sisters, and they predict that he will become King. What should have been a grand prediction, innocently shared with his wife, turned out to be a moment he will live to regret. Macbeth says, “If the assassination/could trammel up the consequence, and catch/with his surcease, success, that but this blow/might be the be-all and end-all here” (I, xi, 2-5). He obviously realizes that this decision, going against his own beliefs, will only bring about ill aftereffects. Macbeth can see that he will never escape this judgment; if the wrong decision is made, it will be with him eternally. More importantly though, he realizes that it is a decision, which means he “still (has) judgment here” (I, xi, 8) and therefore is not being forced to go against his conscience. Macbeth consciously decides, 2007-01-09T02:53:08-05:00 http://75.150.148.189/free-essay/Comparing-Shaekspeare-Characters-Macbeth-and-Claudius-32317.aspx Comparing the Merchant of Venice and a Mid-Summer Nigth's Dream William Shakespeare’s The Merchant of Venice and A Midsummer Night’s Dream are two comedies. A comedy is a “drama that provokes laughter at human behavior, usually involves romantic love, and usually has a happy ending” (Boyce 119). While both plays have romance and happy endings, they differ in the mood they set throughout the play. William Shakespeare’s The Merchant of Venice and A Midsummer Night’s Dream are different because The Merchant of Venice is a dark comedy because of the anti-semitism, Antonio’s close call with death, and Shylock’s tragic ending whereas A Midsummer Night’s Dream is light-hearted because it involves fairies, has a funny climax, and everyone has a happy ending. The Merchant of Venice has very anti-semetic undertones. Shylock, the moneylender, is Jewish, greedy, and seen as murderous and inhuman. Throughout most of the play, Shylock is referred to as “the Jew” but he is also referred to as an animal. Gratiano refers to Shylock when he says, “O be thou damned, inexecrable dog!” (IV, I, 128) and is also referred to as “currish spirit govern’d a wolf” (IV, I, 133-134) and whose “desires are wolvish, bloody, starved, and ravenous” (IV, I, 137-138). Stirling says, “These labels that are applied to shylock effectively strip him of his humanity, and his religious identity. He becomes reduced to something less than human” (Stirling). Shylock is also portrayed as murderous. People don’t like Shylock because of the way he deals with people. This is shown through his lines against Antonio because he knows Antonio is trapped in a contract with him and Shylock intends to kill him. Shylock’s daughter Jessica tells Antonio that she overheard her father say, “When I was with him I have heard him swear to Tubal and to Chus, his countrymen, That he would rather have Antonio’s flesh than twenty times the value of the sum” (III, ii, 248-2488). He is so intent on Antonio’s ruin that when he hears of Antonio’s financial disappointment, he says, “I’m very glad of it. I’ll plague him, I’ll torture him, I am glad of it” (III, I, 116-117). During his trial, at the end of the play, the Christians finally take half of his money and force him to convert. Boyce comments on Shylocks fate saying, “He 2007-01-09T02:24:43-05:00 http://75.150.148.189/free-essay/Comparing-the-Merchant-of-Venice-and-a-Mid-Summer-Nigth-s-Dr-32308.aspx Quotation Analysis of Key Lines in King Lear King Lear, by William Shakespeare, is a tragic tale of filial conflict, personal transformation, and loss. The story revolves around the King who foolishly alienates his only truly devoted daughter and realizes too late the true nature of his other two daughters. A major subplot involves the illegitimate son of Gloucester, Edmund, who plans to discredit his brother Edgar and betray his father. With these and other major characters in the play, Shakespeare clearly asserts that human nature is either entirely good, or entirely evil. Some characters experience a transformative phase, where by some trial or ordeal their nature is profoundly changed. We shall examine Shakespeare's stand on human nature in King Lear by looking at specific characters in the play: Cordelia who is wholly good, Edmund who is wholly evil, and Lear whose nature is transformed by the realization of his folly and his descent into madness. The play begins with Lear, an old king ready for retirement, preparing to divide the kingdom among his three daughters. Lear has his daughters compete for their inheritance by judging who can proclaim their love for him in the grandest possible fashion. Cordelia finds that she is unable to show her love with mere words: "Cordelia. [Aside] What shall Cordelia speak? Love, and be silent." Act I, scene i, lines 63-64. Cordelia's nature is such that she is unable to engage in even so forgivable a deception as to satisfy an old king's vanity and pride, as we see again in the following quotation: "Cordelia. [Aside] Then poor cordelia! And not so, since I am sure my love's More ponderous than my tongue. " Act I, Scene i, lines 78-80. Cordelia clearly loves her father, and yet realizes that her honesty will not please him. Her nature is too good to allow even the slightest deviation from her morals. An impressive speech similar to her sisters' would have prevented much tragedy, but Shakespeare has crafted Cordelia such that she could never consider such an act. Later in the play Cordelia, now banished for her honesty, still loves her father and displays great compassion and grief for him as we see in the following: "Cordelia. O my dear father, restoration hang Thy medicine on my lips, and let this kiss Repair those violent harms that my two sisters Have in reverence made." Act IV, Scene vii, 2007-01-08T22:02:14-05:00 http://75.150.148.189/free-essay/Quotation-Analysis-of-Key-Lines-in-King-Lear-32293.aspx Male Dominance in Victorian and Shakespearean Society Charlotte Perkins Gilman’s The Yellow Wallpaper illustrates the reality of men’s dominance over women’s lives in Victorian Society. The husband, John, treats his wife, the unnamed narrator, as a petty and trivial person and stresses his superiority over her. John belittles his wife by calling her such names as “little girl” and “blessed little goose”. At first these names for his wife do not seem important, but as the story continues it reveals John’s love for his wife is more paternal love than anything else. Men in Victorian society are represented as the dominant sex, and women portray the weaker sex. The narrator feels helpless as a woman because of her role as an entrapped woman in Victorian Society. She becomes obsessed with the wallpaper in her room and does not want anyone to tamper with the wallpaper; the same way she does not want John to tamper with her inner-self. Doing this she produces a guard to subliminally protect herself from the male superiority presented by John. She slowly develops a sense of independence for herself. The narrator starts to capitalize the word “me” which emphasizes her newfound self-awareness. This society’s expectations finally defeats the narrator by eventually drives her insane. The fact that she goes insane symbolizes the weakening effects on women due to a male dominated society. Like The Yellow Wallpaper, Henrik Ibsen’s A Doll’s House depicts a husband-wife relation during the Victorian Era. The husband, Torvald, controls the marriage with a sense of parental love and treats his wife, Nora, like a child. He does not allow her to eat macaroons because he says they will rot her teeth. Doing this reveals his feelings of dominance in the relationship and his parental love. Similar to The Yellow Wallpaper, Torvald belittles Nora and calls her “girl” and “silly girl” conveying his feelings of superiority toward Nora. Torvald believes his purpose and man’s purpose is to protect and guide his wife. Influenced by Victorian Society, Torvald feels that Nora, as a woman, is weak and helpless by nature and that she should not have an equal role in their marriage. Women of this time are simply transferred from their fathers arms to their husbands, without any change in the affection brought toward them. Torvald forces Nora to dance with him, so his society will hold him in high prestige. Nora is 2007-01-03T21:50:07-05:00 http://75.150.148.189/free-essay/Male-Dominance-in-Victorian-and-Shakespearean-Society-32209.aspx Marcus Brutus In The Tragedy Of Julius Caesar Caesar was the powerful ruler of Rome. One of his dearest friends was a man named Marcus Brutus. Brutus was a loyal friend, and was always true to his country. But when Brutus is facing a dilemma in which case he is torn between the life of his friend and what is better for the city of Rome. With Brutus being a true Roman he chooses the death of his friend. With Brutus joining the conspirators, who are plotting against Caesar, they are now even more powerful and can influence the people easier. While all the conspirators stab Caesar in the back, Brutus is the only one to stab Caesar face to face. Marc Antony, Ocatavius, and Lepidus take over the triumvirate. Brutus and Cuis Cassuis took their troops in against Antony and his troops. This will be where Brutus’ death and tragic flaw take place. While at camp Brutus and Cassius get into an argument leading to Cassuis saying he shall kill himself. After that in solved Brutus heads to bed. In the middle of the night he wakes up to the ghost of Julius. Caesar tells his old friend “Though shalt see me at Philippi.” Brutus is startled by this and isn’t sure what was meant by this. Will Caesar live again or is this some kind of omen. Brutus and his troops March to Philippi. After Cassuis dies, Brutus and his troops are winning, although Brutus don’t realize it. Brutus decides to take the cowards way out of this and kill himself, rather than be drug through the streets of Rome. Strato holds out his sword as Brutus runs about and kills himself. Brutus’ tragic flaw in all of this was he was too loyal to Rome and to his friend Caesar at the same time. After killing Caesar he wasn’t sure if he had done the right thing. And then when after Antony spoke at the funeral and turned all of the people from Rome against Brutus, things started to go downhill for our hero. Then during the battle when he thought he was defeated, and committed suicide, his flaw was complete. 2006-12-20T02:22:24-05:00 http://75.150.148.189/free-essay/Marcus-Brutus-In-The-Tragedy-Of-Julius-Caesar-32114.aspx Analysis of Antony in Julius Caesar In the play Julius Caesar there is a group of men who want to overthrow Caesar because they oppose his leadership and they feel that it would benefit Rome to kill him. Included in this group is a man named Brutus. Brutus is a very honorable man, but even so he still takes part in the conspirators’ plan. However, he only seeks to kill Caesar for the good of Rome. After the killing of Caesar takes place, Antony, Caesar’s close advisor, confronts the conspirators. He cordially shakes their hand, which they think is a symbol of agreement between the conspirators and Antony. However Antony shakes their hand as a sign that he will take revenge for what they did. Antony tells Brutus that he wants to speak in Caesar’s funeral, and after Brutus has a discussion with Cassius, he gives permission for Antony to speak during the funeral. Both Brutus and Antony speak in the funeral in hopes of persuading the people to agree with their reasoning on Caesar’s murder. Even though both characters’ speeches have an effect on the citizens, Antony’s speech appeals to the people’s emotions and persuades them against the conspirators. The first person to speak in the funeral is Brutus. He tries to explain to the people that killing Caesar is only going to help the people of Rome. He tries to appeal to the citizens’ reason and national pride. He explains his reasons and is straightforward. For example in his speech he says, “If then that friend demand why Brutus rose against Caesar, this is my answer- not that I loved Caesar less, but that I loved Rome more.” Brutus clearly states to the citizen’s that he killed Caesar for the good of Rome. Brutus is indeed persuasive, but not as persuasive as Antony. When Antony speaks to the people of Rome, he tries to appeal to their emotions. His speech is more powerful than Brutus’s because he appeals to their emotions and not to their reason. This is seen in his speech when he says, “If you have tears prepare to shed them now.” From his use of words, he is able to alter the citizens’ opinion. Both of the characters had an effect on the people. Antony expresses his personal beliefs while speaking, which greatly influences the citizens. Brutus was able to 2006-12-07T15:36:02-05:00 http://75.150.148.189/free-essay/Analysis-of-Antony-in-Julius-Caesar-31928.aspx Critical Analysis of Marc Anthony's Speech in Julis Caesar Marc Anthony’s speech encompasses a multitude of rhetorical devices, and as a result wins the confidence and favor of his rowdy audience. He begins his speech with the ironic phrase I come to bury Caesar, not to praise him. (3. 2. 81) Anthony, contrary to what he says, actually means to turn the citizens of Rome against Brutus and the conspirators, revenging Julius Caesar’s death. Anthony continues his speech by using the idea from Brutus’ speech that Caesar was an ambitious man. Brutus used this thought to support his basis for killing Julius Caesar. Anthony does not dispute Brutus’ respectable reputation, instead he says For Brutus is an honorable man (3. 2. 89) However, Anthony does begin to disagree with Brutus’ comment on Caesar’s grievous ambition. He does this be appealing to the audience’s logic, and presents two strong examples of Caesar’s lack of ambition. He says He hath brought many captives home to Rome, Whose ransoms did the general coffers fill; Did this in Caesar seem ambitious? (3. 2. 95-97) Anthony also involves the crowd in his speech, asking them a question and forcing them to ponder whether the assassination of Caesar was nothing but a disservice to the Roman Empire. Anthony continues to dispute Caesar’s ambitiousness, however still maintaining that the conspirator’s were honorable men. He says Brutus is an honorable man (3. 2. 101) But he continually repeats this line, even after he has just disproved Caesar’s ambition, making the compliment sound sarcastic and mocking. By proving to the audience that Caesar was not full of ambition, he also proves that the conspirators were not honorable men, thus concluding that Caesar’s death was a futile murder, devastating to the welfare of Rome. Anthony also uses parison, repeating the same idea continually, only rephrasing it slightly each time. He explains to the crowd Yet Brutus says he was ambitious, And sure he is an honourable man (3. 2. 100-101) By incessantly reiterating this idea, it becomes gradually engraved in the crowd’s mind. Again, Anthony says But Brutus says he was ambitious, And Brutus is an honourable man (3. 2. 106-107) Only somewhat rearticulated, Anthony again compels the same idea, gradually obtaining reservation from the crowd towards Brutus. To further gain favour from the crowd, Anthony appeals to the emotions of his 2006-10-31T22:18:43-04:00 http://75.150.148.189/free-essay/Critical-Analysis-of-Marc-Anthony-s-Speech-in-Julis-Caesar-31638.aspx Analysis of the Tempest by Shakespeare Throughout time various tales have been told in diverse ways to provide us with entertainment. The most popular and interesting ones sometimes make it by as classics. There are many different elements to a classic play or novel, which a number of authors can produce. Shakespeare was perhaps one the best known classic authors to generate such plays. The Tempest is one of William Shakespeare’s plays that undeniably deserves to be considered a classic because of the use language to convey meaning, the moral lessons taught, and the characteristics presented by Prospero. The way Shakespeare uses language in the play is the first reason for the play being considered a classic. One way the language skills are displayed is by putting depth meaning into a word. The word “maze” is one detail that shows depth in meaning by describing how the noblemen have been traveling around the island, which is really created to be a maze for them (Shakespeare 56). Bate, is another detail that means to leave out of account but is sarcastically used to answer a question of accepting a person (29). Other examples are lines, which also contain intensity in meaning. Fernando speaks the phrase “the white cold virgin snow upon my heart abates the ardor of my liver” when he proclaims his love for Miranda (64). Another detail used in the play is when Antonio says “his word is more then the miraculous harp” which refers to widow Dido who’s word is more powerful than Amphion, the bard who raised the walls of Thebes by playing his harp (29). The usage of language assisted the play in becoming a classic. The moral lessons being taught give The Tempest an additional reason for being a classic play. Alonso’s change of character and attitude is one of the moral lessons taught in the play. Alonso apologizes to Prospero for plotting against him many years ago (78-79). Alonso also approves of Ferdinand and Miranda’s marriage (83). Another way morality is displayed is when Antonio learns his lesson. The first action Antonio takes is apologizing to his brother Prospero for betraying him and taking over his dukedom (61). A further act is not refusing to give Prospero his dukedom back when he claims the title (79). Alonso 2006-10-29T21:32:17-04:00 http://75.150.148.189/free-essay/Analysis-of-the-Tempest-by-Shakespeare-31612.aspx The Life of William Shakespeare The life of William Shakespeare, unquestionably the world’s most renowned playwright and poet, is based mostly on conjecture and inference, with the exception of documented facts acquired from his works, and surviving church and legal documents. Although the actual date of William Shakespeare’s birth was never recorded, accounts from Holy Trinity Church verify that he was baptized on April 26, 1564. Because infants were traditionally baptized within 3 days of birth, it is generally accepted that he was born on April 23, 1564, in Stratford-upon-Avon, Warwickshire. The third of eight children, Shakespeare was the first son of John Shakespeare and Mary Arden, who were married in approximately 1557. John Shakespeare, a glover and leather merchant, was well respected in Stratford, where he held many civic offices, including High Bailiff, the equivalent of a city Mayor. Throughout William’s early childhood, John was considered a solid, successful citizen, but for reasons unknown, at some point during the late 1570’s his fortunes began to decline, and he ceased participation in local government affairs. That Shakespeare actually attended grammar school is unknown, but it is likely that he was educated at The King’s New School, given his father’s status as a prominent citizen of Stratford. There, Shakespeare would have studied Latin and possibly Greek, and been exposed to such literary greats as Ovid and Plautus. While we know that Shakespeare did not attend a university, the events of his life between adolescence and early adulthood remain a mystery and have become the topic of much debate. The next documented event in Shakespeare’s life is his marriage to Ann Hathaway on November 28, 1582. At 26, Hathaway was eight years older than Shakespeare, and three months pregnant at the time of their nuptials; it is probable that the two were hastily married in order to prevent disgrace. Whether or not Shakespeare truly loved his wife is a matter of speculation (in his will he bequeaths to her his “second best bed.”), nevertheless, on May 26, 1583, Susanna, the first of three children, was born. Twins Hamnet and Judith arrived two years later in 1585, but sadly Hamnet died in 1596 at age 11. No records survive as to the activities of Shakespeare from the 2006-09-14T00:23:43-04:00 http://75.150.148.189/free-essay/The-Life-of-Shakespeare--31442.aspx Tracing Themes of Evil through Othello People are jealous of others’ success, others’ looks, and even others’ race. Tragic playwright William Shakespeare proves, in immense detail, just how far jealousy can drive a human being. His tragic play Othello, encases this statement made by critical essayist D.R. Godfrey, “Jealousy, once awakened, becomes self-perpetuating, self-intensifying, and where no evidence for it exists, the jealous person under the impulse of an extraordinary perversity will continue to manufacture it”(Godfrey 418). Through characters, plot and racism, Shakespeare proves that jealousy is the root and driving force of all evil. Jealousy first shows its ugly face when we meet Iago. He is the voice of jealousy in its entirety, giving way to the evil deeds that drive the play. Initially, Iago is jealous of Cassio’s placement over him in the government, however a sexual jealousy enters the plot when Iago suspects his wife is involved a romantic relationship with Othello or Cassio. Iago succumbs to this newly found jealousy when he proclaims: Divinity of hell! When devils will their blackest sins put on, They do suggest at first with heavenly shows, As I do now. (2.3.345-348) Iago not only allows his jealousy to control him, but he also allows it to change him. Critic D.R. Godfrey opens our eyes to this control when he suggests that, “He [Iago] becomes jealous, embittered, and vengeful, viciously repudiating the honesty and loyalty that have led him nowhere”(Godfrey 421). Othello, as we quickly learn, is like Iago in the sense that he has a great sexual jealousy over his new bride Desdemona. The jealousy, placed in Othello’s thoughts by Iago, is easily seen when Othello states, “If she be false, O, then heaven mocks itself,/ I’ll not believe it”(3.3.278-279). Othello not only becomes jealous of Desdemona’s sexual affairs, but of love and all of its manifestations. And at a rather swift pace, Othello allows the jealousy to overtake him, and fill his mind with thoughts of evil. One witnesses this progressive type of jealousy when Othello cries, “Yet she [Desdemona] must die, else she’ll betray more men”(5.2.6). Roderigo presents the theme of jealousy as well, however in a much more minor sense. Roderigo’s jealousy rises from a love never requited. (Godfrey 421) His love for Desdemona is so great, but Roderigo knows that she is a lost cause, and that makes him insanely 2006-08-29T15:46:35-04:00 http://75.150.148.189/free-essay/Tracing-Themes-of-Evil-through-Othello-31378.aspx Analysis of the Two Patriarchs from King Lear In the Shakespearean tragedy “King Lear”, the two patriarchs Lear and Gloucester are different, yet they do have their similarities. Lear is an old King who no longer wants the responsibility of running the kingdom and its land. He therefore decides to divide his land in three, and present a piece to each of his daughters. This already shows a glimpse of Lear’s character; he is not too bright. He is and has been king for some time; he knew the responsibility of being King, yet he now no longer “wants” it. This shows how he is irresponsible and lazy. Also, in dividing up his land, he is being un- wise, a peasant, let alone a King would or should know that one should never divide up a country. Thus comes the saying, “divide and conquer”. Gloucester, however seems to be a rather responsible man. He has helped conceive a bastard son, during that era, a bastard was usually never thought of, let alone educated, cared for and loved. Gloucester cares for, and loves his bastard son Edmund, as much as his legitimate son, Edgar. “ But I have also a son, sir, by order of law, some year elder/ than this, who yet is no dearer to my account:” ( I,i,18-19) Lear and Gloucester also have their similarities that are shown throughout act I, scenes i and ii. They are both rash and jump to conclusions. Lear was rash in his decision to banish, with the threat of killing, his long time friend, Kent. All Kent did was look out for Lear, and try to reason with him. Even after Kent has been banished, he continues to look out for the well being of his friend. “And your large speeches may/ your deeds approve, / That good effects may spring from words of love.” ( I, i, 183-184) Lear also jumps to conclusions when Cordelia tells him of her love for him. He thinks that she does not love him. “ So young, and so untender?” ( I, i, 105) He is also rash when this happens; he disowns Cordelia. He refuses to see the truth, which he knows; that Cordelia loves him the most. He gives her no dowry, and worst of all he disowns her. He says that he never wants to see his once most beloved daughter. “Let it 2006-08-27T22:35:37-04:00 http://75.150.148.189/free-essay/Analysis-of-the-Two-Patriarchs-from-King-Lear-31330.aspx Synopsis, History, Production Notes: Much Ado About Nothing Synopsis Don Pedro, Prince of Arragon, pays a visit to Leonata, the governor of Messina, while returning from a victorious campaign against his rebellious brother, Don John. Accompanying him are two of his officers, Benedick and Claudio. While in Messina, Claudio falls for Leonato's daughter, Hero; Benedick verbally spars with Beatrice, the governor's niece. The budding love between Claudio and Hero prompts Don Pedro to arrange with Leonato for the marriage. Meanwhile, the trickery begins as Don Pedro (with the help of Leonato and Claudio) attempts to sport with Benedick and Beatrice in an effort to make the two of them fall in love. Likewise, Hero and her waiting woman help to set up Beatrice. Both Benedick and Beatrice will think that the other has professed a great love for them. The marriage of Claudio to Hero is set to go. Don John—ostensibly reconciled with his brother—despises Claudio, however, and plots against him. First, he tells Claudio that Pedro wants Hero for himself; next, he enlists the aid of his henchman Borachio and one of Hero's gentlewomen disguised as Hero to stage an encounter that will bring Hero's virtue into question. Claudio falls for the ruse and denounces Hero at the altar. Friar Francis helps her, hiding her away and enlisting the aid of Leonata, who announces that his daughter has died of grief from the proceeding. Fortunately for Hero, Borachio is arrested while drunkenly boasting of his part in the plan (and the 1,000 ducats paid him). With Borachio's confession, Hero is to be exonerated. Leonato demands a public apology from Claudio, then tells him that he will allow Claudio to marry one of his nieces in Hero's place—a niece that turns out to be none other than Hero herself. Claudio and Hero are reunited, Benedick and Beatrice will wed alongside them, and they receive the news that the bastard Don John has been apprehended. About Shakespeare For all his fame and celebration, William Shakespeare remains a mysterious figure with regards to personal history. There are just two primary sources for information on the Bard: his works, and various legal and church documents that have survived from Elizabethan times. Naturally, there are many gaps in this body of information, which tells us little about Shakespeare the man. William Shakespeare was born in Stratford-upon-Avon, allegedly on April 23, 1564. Church records from Holy Trinity Church indicate that he was baptized 2006-08-13T10:17:36-04:00 http://75.150.148.189/free-essay/Synopsis-History-Production-Notes-Much-Ado-About-Nothing-31254.aspx Elements of Good and Evil in King Lear King Lear is one of the famous plays of Shakespeare. Its development of the plot, the mood and the character of Lear through the play made the audiences enjoy the play. The play cannot be successful without the contribution of the secondary characters. By looking at the development of the plot, the mood and the changes of character of Lear, it is obvious that Kent, the Fool and Cornwall play the important role in King Lear. First, Kent, the Fool, and Cornwall are important to the development of the plots of King Lear. Kent and the Fool are the great advisers on Lear's side, but Cornwall is the evil throughout the play. Kent is the consistent characters that helps Lear whether Lear is in power or powerless, mad and died, which he shows the persistent loyalty to Lear throughout the play. The fool is playing with his coxcomb and offers it to Lear and Kent. He states Lear as a fool after the love test and division of the Kingdom. When Lear is mad, the Fool is beside Lear and comforts him, and tries to persuade Lear to go indoor, "O nuncle, court holy-water in a dry house is better than this rain-water out o' door." (Acts three, scene two, line ten.) The Fool disappears after Act three because Lear has reached the bottom of his suffering, which the Fool cannot do anything about it. Cornwall is a duke in England and a husband of Regan. He gives himself up completely to corruption and courtly intrigue. He publishes the messenger, Kent, because of a servant conflict when he sees Lear is no longer in power. He insults Kent in the purpose of showing Lear that Lear is no longer in power like the past that people will not respect him like before. When Cornwall knows from Edmund that Gloucester hold a letter and he helps the king, Cornwall is so angry because he feels Gloucester betray him. Cornwall arrests Gloucester and he decides to torture Gloucester instead of hang him. "Plunk out his eyes" (Act three, Scene seven, Line five.) He decides to torture Gloucester to show that this is the result of helping Lear, and he feels Gloucester is the biggest power in England that would help Lear. Next, Kent, the fool and Cornwall are also important to the development of the mood through 2006-08-12T15:26:11-04:00 http://75.150.148.189/free-essay/Elements-of-Good-and-Evil-in-King-Lear-31239.aspx Speech Analysis of Marc Antony in Julius Caesar In Antony's funeral oration, he abides by his agreement with Brutus not to place blame on the conspirators. However, he manages to turn the mob against the conspirators. How does he do this? Use examples from the speech to support your answers. Antony uses many rhetorical tricks to persuade the people to go against the conspirators and support him and Caeser's goals. Marc Antony is a respectable man and is himself honorable, but most importantly he has mastered the art of rhetoric. Antony states in his speech that "[Brutus] Hath told you Caesar was ambitious", and then Antony retorts with "I thrice presented him [Caesar] a kingly crown which he did thrice refuse." By doing that, Antony carefully rebuts Brutus' statement that Caesar was ambitious and starts turning the crowd against the conspirators. Throughout his speech Antony continues with his pledge to the conspirators by calling them "honorable men", but the crowd feels a sense of sarcasm each time his calls them that. He then says "You [the crowd] all did love him once, not without cause. What cause withholds you then to mourn for him?" This rhetorical question goes against Brutus by questioning his speech in which he so greatly demonized and demeaned Caesar. Now the crowd is starting to turn against the conspirators and follow Antony. Antony then teases the crowd with Caesar's will, which the beg him to read, but he refuses. Antony tells the crowd to "have patience" and expresses his feeling that he will "wrong the honorable men whose daggers have stabbed Caesar" if he is to read the will. The crowd yells out "they were traitors. 'Honorable men" and have at this time completely turned against the conspirators and are inflamed about Caeser's death. To refute Brutus' claim that Caesar was a heartless tyrant Antony recounts "how dearly he [Caesar] loved him [Brutus]. Next, Antony humbles himself as "no orator, as Brutus is" hinting that Brutus used trickery in his speech to deceive the crowd. After that Antony deals his final blow by revealing to the crowd Caeser's will, in which "To every Roman citizen he gives, to every several man seventy-five drachmas" as well as land. He then asks the crowd, "Here was a Caesar, when comes such another?" , which questions the conspirators ability to lead. Finally, Antony releases the crowd and utters, "Now let 2006-08-12T14:46:04-04:00 http://75.150.148.189/free-essay/Speech-Analysis-of-Marc-Antony-in-Julius-Caesar-31233.aspx Character Analysis of Brutus in The Tragedy of Julius Ceasar “Et tu Brute?” Caesar’s simple statement sums up Brutus’ round character in the development of The Tragedy of Julius Caesar. Brutus was thought no threat and an ingenious right-hand man due to his nobility and his loyalty; however, these qualities are precisely why the story is such a catastrophe. What stemmed from these traits is the last expected outcome. Caesar’s surprise was so immense, he could only mutter these last few words. Brutus’ honorable nobility, his loyal patriotism, and his naïve and idealistic manner outline Shakespeare’s tragic hero. Honor is an underlying foundation of Brutus and can be clearly seen during the play’s dramatic speeches. Brutus himself makes his honor apparent in his orations. After the assassination of Caesar and during the funeral speech, Brutus asks the people of Rome, “Who is here so rude that would not be a Roman? If any, speak; for him I have offended” (act III, sc ii, ln 29-32). This in Brutus proves he is noble as he cares and protects the welfare of the people and Rome as a whole. He is torn between his sense of duty with Rome and his friendship with Caesar. In the end; however, he must rationalize his actions to save face and conform to both sides of his conflict. Furthermore, Brutus tries to prove his nobility to virtually everyone. When Brutus utters his last words, he tells Caesar his intentions, “I killed thee with half so good a will” (act V, sc v, ln 50-51). His honor is always persistent and never fails to prevail at even the most taxing and awkward situation. Brutus considers his honor in every aspect and choice in his life and often rules over his own accord. Accordingly, many people, including his enemies, were very much aware of his honor. When he witnesses Brutus’ dead body at the battleground of Philipi, Antony states he is the “noblest Roman of them all” and “all the conspirators save only he, did that they did in envy of great Caesar; he, only in a general honest…” (act V, sc v, ln 68-71). Brutus’ honor is so strong and visible even his enemies witnessed his astonishing nobility. Antony knows Brutus would only do such an act with true vindication, although the other conspirators, while still noble, would not hold true to the high standard Brutus’ created. Brutus’ 2006-08-08T15:05:43-04:00 http://75.150.148.189/free-essay/Character-Analysis-of-Brutus-in-The-Tragedy-of-Julius-Ceasar-31177.aspx Examination of Fantasy in "The Tempest" Throughout Shakespeare’s “The Tempest,” fantasy does more than reality in curbing character’s decisions. Nearly all realities change following the story's climax due to fantasy replacing reality. The love between Ferdinand and Miranda is the only relationship in the work not totally reliant upon magic for its existence. Prospero’s fake tempest begins the story not only textually, but also chronologically. The rest of the story flows from this one act of magic. This storm allows for the circumstantial positioning of the characters so that Prospero may have his way with them. While Prospero purposefully separates the stranded men into preconceived groups, reality still has its way through Miranda and Ferdinand’s intense love-at-first-sight. There is no evidence pointing to Prospero’s knowing beforehand that Ferdinand and Miranda would fall in love. The most pressing issue on Prospero’s agenda is his reinstatement as the Duke of Milan. To achieve this end, he takes advantage of perfect circumstances and uses magic to convolute reality beyond his initial fantastic storm. By accident most strange, bountiful Fortune (Now, my dear lady) hath mine enemies Brought to this shore; and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence If now I court not, but omit, my fortunes Will ever after droop. (I.2 178-184) Through an unnatural apparition, he uses his sorcery to drive his foes, (Antonio, Sebastian and Alonso), to madness, as explained by one of King Alonso’s trusted advisors. All three of them are desperate: their great guilt, Like poison given to work a great time after, Now ‘gins to bite the spirits. I do beseech you, That are of suppler joints, follow them swiftly And hinder them from what this ecstasy May now provoke them to. (IV.1 105-109) Once Prospero eventually releases them from this horrible trance, they all become repentant for their crimes against him, and he willingly forgives them. King Alonso then reestablishes him as the Duke of Milan. Thy dukedom I resign and do entreat Thou pardon me my wrongs. (V.1 118-119) Sorcery is not the only magic used in the work. A drunken Stephano accidentally stumbles upon his ability to use alcohol as a means to be a god. Stephano and Trinculo use the washed-up barrel of sherry as a means to cast their own type of spell over Caliban. Under a drunken daze, Stephano moves to 2006-08-07T08:08:11-04:00 http://75.150.148.189/free-essay/Examination-of-Fantasy-in-The-Tempest-31102.aspx Shakespeare's Tragic Hero In Macbeth And Hamlet In Shakespeare’s’ tragedies, one element is consistent- the tragic hero. Each tragic hero shares certain traits that contribute to his tragedy. They possess a fault that will eventually lead to their demise. Shakespeare’s tragic hero is a man of noble birth who falls from a position of honor and respect due to a flaw in his character. Hamlet and Macbeth are portrayed as tragic heroes through their nobility, tragic flaws, and errors in judgment. During the first scenes of Shakespeare’s plays Hamlet and Macbeth, Hamlet and Macbeth’s noble status is immediately established. Before Macbeth is introduced to the audience, Duncan and Ross speak of his greatness. Duncan is thrilled to hear of “noble Macbeth[’s]” victory over Norway, and tells Ross to go greet his “worthiest cousin” with the news that “what [Thane of Cawdor] hath lost, noble Macbeth hath won” (1.2.67). Macbeth begins with the title of Thane of Glamis, but his new name “worthy Cawdor” (1.2.68) adds to his already established nobility. In the opening scenes of Hamlet, Hamlet’s patrimony is revealed to the audience; he is the “most immediate to [Denmark’s] throne” (1.2.109). This title of “Sweet Prince” grants him a “noble mind” (3.1.153). “The great love 2006-08-06T00:06:44-04:00 http://75.150.148.189/free-essay/Shakespeare-s-Tragic-Hero-In-Macbeth-And-Hamlet-31060.aspx Character Analysis of Shylock from "The Merchant of Venice" Shylock is the devil in the Merchant of Venice, and wants revenge on the Christian, Antonio. Shylock attempts to kill Antonio because he is a Christian. Shylock is a murderer and he hated all the Christian people. “Shylock is a villain.” (258;Stoll). Stoll says that Shylock is the villain in The Merchant of Venice because he hates Christians, and he attempts to kill Antonio, by taking his heart. Shylock cares more about money then his daughter, and he attempts to kill Antonio. Shakespeare is writing for an anti-Semitic audience and he wants to make Shylock look like a devil. The audiences that lived in Venice and watched the play, at the time, were mostly Christian and they were very anti-Semitic. The Christian people hated the Jews because they believed that the Jewish people were devils. The Christians thought the Jews were the devils because they killed Jesus Christ. “Shakespeare's age based their anti-Semitism on religious grounds… that the Jews murdered Christ and were therefore in league with the devil.” (1;The Nature of Anti-Semitism). Shakespeare tries to make it an anti-Semitic play to attract more attention and make more money by selling more tickets. Shakespeare himself is not Anti-Semitic he is just trying to make a living by selling his books and performing acting out his plays. Shylock, a Jew, is portrayed as a devil who wants revenge against a Christian. Shylock’s wants revenge due to a forfeited bond. Antonio’s friend, Bassanio, has the money to pay off the debt and even add a lot extra money on top of what is actually owed to Shylock. Shylock refuses to take the money and wants Antonio dead. The death of Antonio by Shylock would happen because of an unpaid debt from Antonio, the Christian merchant, who Shylock dearly hates. Shylock asks Bassanio if he would free his slaves and then Shylock says no one would free their slaves because the slaves are theirs. Shylock says this so he can reaffirm his want for the flesh, he is bound to have pound of flesh and he wants it. “The slaves are ours’. … / The pound of flesh which I demand of him / is dearly bought: ‘tis mine, and I will 2006-07-27T12:47:02-04:00 http://75.150.148.189/free-essay/Character-Analysis-of-Shylock-from-The-Merchant-of-Venice-30726.aspx Critical Elements of King Lear Although this play is 600 years old it is as relevant today as it was when it was written maybe not in historical factual terms but in terms of the human qualities which are shown in the characters. Yes, it is very much relevant. Human personality has not changed in essentials from Shakespeare’s time to the present. We recognize in his plays qualities such as avarice, greed, jealousy, deceit, cunning, selfishness, poor judgment as well as truth, honesty and loyalty. The play has already shown its significance as it stood the test of time and shown it's universal appeal as the play has been translated into many different languages. People from different cultures recognized the human qualities portrayed in this drama. The central character King Lear represents the human frailty of old age, Gonorell and Regan show cunning, selfishness and duplicity while Cordelia represents truth and honesty, Kent too after being banished by his king disguises himself and protects his ruler through his changing fortunes. In the opening scene Lear's pride and poor judgment begin this tragedy, we can identify with his role as a father trying give a third of his kingdom to each of his daughters, We see but he doesn’t see the falsity of Gonorell and Regan and we recognize Cordelia to be genuine and true . However her father does not and suffers the consequences of his pride, anger and obstinacy. My collage simplifies the play into the theme of justice or good versus evil, King Lear is the pivotal point about which the factions of good such Egdar, fool, Kent, Glouster and Cordelia are juxtaposed to the agents of personal gain such as Gonorell, Regan, Edmond and Cornwall. The manifestations of evil are depicted in simple terms in star wars but this play develops the themes to a far greater depth and subtlety. We see into human personality to a greater degree and the tragedy of the king himself who goes from overweening pride, security and obstinacy, he moves through rebellious anger, despair and madness, to patience, to humility and to a new recognition of truth and goodness. Justice triumphs over the evil forces as the two sisters and Cornwall die, Edmond is neutralized while Edgar is reunited as champion to his king and his father, Kent reveals himself to his humble king yet tragically Cordelia 2006-07-26T12:13:23-04:00 http://75.150.148.189/free-essay/Critical-Elements-of-King-Lear-30673.aspx Determining Optimism or Pesimism in King Lear Many scholars consider ‘King Lear’ one of Shakespeare’s greatest plays. This is because of its power; it tackles all issues and is still relevant today to the extent that it has been called “Shakespeare’s play for the 20th century”. ‘King Lear’ is cathartic and a discouragingly accurate portrayal of human nature. It shows us altruism, selfishness, love, hate, stupidity and understanding. It questions fate, the gods, our purpose and how, why and what human nature is. It is this, the sheer amount, and power of it’s themes which explains why ‘King Lear’ is held by so many scholars, past and present, in such high regard. However, whether the play the play has an optimistic or pessimistic outlook is a question that has been debated over the centuries. Whether the play is optimistic or pessimistic is of great importance to the meaning of the play as a whole, as the message it conveys hinges on whether the play is hopeful or disparagingly tragic. Is Shakespeare trying to say that life is completely pointless? That we are simply “like flies to wanton boys, they kill us for their sport.” Alternatively, is he trying to show us that there is a point to life; that we must learn, love, and try to live honourably and decently? There are two predominant schools of thought in the dispute over whether the play is optimistic or pessimistic. These are represented both in the play and in the opinions of critics. In general, critics of the late 20th century find the play profoundly pessimistic and earlier critics find the play optimistic. The pessimistic opinion on the play argues that, in ‘King Lear’, human nature is portrayed as being essentially bad and that the play is attempting to say that there is no purpose to life. Gonerill, Regan and Edmund represent this immoral, evil, quality to human nature. Edmund refers to nature many times throughout the play: “Thou, nature, art my goddess; to thy law My services are bound. Wherefore should I Stand in the way of custom, and permit The curiosity of nations to deprive me…” This shows how Edmund wants to disrupt the order - imposed by man - by which he is made to suffer because of his illegitimacy. This could be considered pessimistic, as regards our nature, in two 2006-07-23T17:31:55-04:00 http://75.150.148.189/free-essay/Determining-Optimism-or-Pesimism-in-King-Lear-30534.aspx Dysfunctions In King Lear And Long Days Journey Into Night Throughout history novelists and playwrights have to created dysfunctional families. These families lead tragic lives. Within these families, there are both internal and external battles to be dealt. In William Shakespeare’s King Lear and Eugene O’Neill’s Long Day’s Journey Into Night, the authors reveal truly dysfunctional families. In these plays both authors portray the problems and between each member of the family and the consequences the problems will have. In King Lear there are two families that display dysfunctions, the Lear family and the Gloucester family. Within the two families, there are many dysfunctions. In King Lear there are both major and minor dysfunctions between both the Lear family and the Gloucester family. One of the major dysfunctions in both families is filial ingratitude. Within this dysfunction is a theme of good versus evil. The minor dysfunctions of King Lear are closely related to the major dysfunction of filial ingratitude. The minor dysfunctions of the play are the tragic disrespect of authority and the pain of misjudgment. In the Lear family, the theme of filial ingratitude is shown primarily by the attitudes of Lear’s elder daughters. The play primarily deals with the insanity of King Lear after he divides his kingdom between his elder daughters, Goneril and Regan. This decision was based on how much each one loved him. After he had divided his kingdom, he would spend half of his time with Goneril and the other half with Regan. His youngest daughter, Cordelia, was banished from the kingdom after she told Lear “Happily, when I shall wed, that lord whose hand must take my plight shall carry half my love with him, half my care and duty. Sure I shall never marry like my sisters, to love my father all.” (I, i, 104-110) Unfortunately, his decisions to divide his kingdom and to banish his daughter are the cause of his downfall and the downfall for the rest of all his family. Lear decision created most of the dysfunctions within his family. With his kingdom divided between his two eldest daughters, Lear no longer had power. Both Goneril and Regan realized this and they both took advantage of Lear. When Lear would stay with his daughters, they would disregard 2006-07-22T18:33:30-04:00 http://75.150.148.189/free-essay/Dysfunctions-In-King-Lear-And-Long-Days-Journey-Into-Night-30485.aspx Fate Explored in Romeo and Juliet “A pair of star-cross’d lovers,” (prologue, line 6). Since the opening of the play, Romeo and Juliet were destined to die. Throughout each act and throughout each scene, from constant foreshadowing and ill omens, even Romeo and Juliet knew their tragic fate. As much as the two lovers wanted to be together, all their efforts and the efforts of others were purely futile, and as much as everyone wanted to blame others, only fate is to blame. It is a common belief that both Romeo and Juliet’s parents are at fault, for keeping the family feud going, or that Romeo and Juliet’s haste is to blame, or that the Friar and the Nurse shouldn’t have concealed Romeo and Juliet’s marriage, and that they affected the unfortunate end of the two lovers. However, during the play, fate and fortune are mentioned numerous times and are obviously the deciding factors in the tragedy. “These violent delights have violent ends,” (Act 2, scene 6, line 9) “I dreamt my love came and found me dead” (Act 5, scene 1, line 6) “…For my mind misgives/Some consequence yet hanging in the stars/” (Act 1 scene 4, lines 106-107) Even the sequence that allows Romeo to meet Juliet in the first place is completely coincidental. Only because Romeo bumped into a servant, who couldn’t read, who happened to have the list of guests, which included Rosaline, and because of Benvolio’s comment, did Romeo end up attending the Capulet ball. This may have been the first step that caused the deaths of Romeo and Juliet, since by attending the ball, Romeo meets Juliet and also is sighted by Tybalt. From there, Tybalt, determined to kill Romeo, forces the brawl in which he and Mercutio are killed, causing Romeo’s banishment. Eventually, each subsequent action leads to the regrettable end. Fate becomes much more prominent in the fifth act. Fate dictated that Friar John would never deliver Friar Laurence’s critical letter, ruining Friar Laurence’s clever and elaborate plan. “A greater power than we can contradict/ Hath thwarted our intents” (Act 5, scene 3, lines 153-154) In turn, Balthasar delivers news that Juliet is dead and in turn Romeo charges back to Verona. It is interesting to note Romeo’s bold quote “I defy you, 2006-07-22T18:21:55-04:00 http://75.150.148.189/free-essay/Fate-Explored-in-Romeo-and-Juliet-30481.aspx Literary Analysis of Shakespeare's A Midsummer Night's Dream The literary tool known as mirroring helps to emphasize a particular point or idea by repeating it throughout the text. In William Shakespeare’s A Midsummer Night’s Dream Shakespeare mirrors the element of foolishness to bring together three very different worlds; the romantic world of the aristocratic lovers, the workday world of the tradesmen, and the fairy world of Titania and Oberon. As result, Shakespeare creates a world of silly people acting in nonsensical fashion and it is this dream like behavior, which serves as the driving force for the play. In the Aristocratic world, it is the young teenage lovers, Hermia, Lysander, Demetrius and Helena are who are made to look foolish. Demetrius is a fool because he is unaware that his love changes throughout the course of the play. At the start of the play, Demetrius does not love Helena and states, "I love thee not, therefore pursue me not." (A2, S2, L194) Instead of acting like the courtly lover he should be, he is cruel and mean to Helena. However after Demetrius is “juiced” he begins to love Helena and declares, "Lysander, keep thy Hermia; I will none. If e'er I loved her, all that love is gone. My heart to her but as guest- wise sojourned, And now to Helen is it home returned, There to remain." This proves he is a fool, because he is unaware of his changing love for Helena. Helena is a fool because although Demetrius does not love her, she persists in chasing him in the hopes he will change his mind. Demetrius shows no love for Helena. Frustrated by Helena constant swooning Demetrius shouts, "Do I entice you? Do I speak you fair? Or rather do I not in plainest truth Tell you I do not, nor I cannot love you?" (A2, S1,L 199-201) Demetrius clearly illustrates to Helena that he has no interest in her, but Helena persists. "And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you." (A2, S1,L220-222) " This proves that Helena is a fool because she is willing to continuously pursue him even despite his boorish treatment of her. Lysander is a fool because he persuades Hermia 2006-07-22T13:34:31-04:00 http://75.150.148.189/free-essay/Literary-Analysis-of-Shakespeare-s-A-Midsummer-Night-s-Dream-30463.aspx An Introduction to As you Like It by Shakespeare Traditional classifications of drama normally started with the basic distinction between tragedy and comedy, a separation common in Greek and Roman drama, and clearly established by Shakespeare’s time. Of these two styles, the easiest to define initially was the former. Tragedy was understood as the dramatic portrayal of a great man’s suffering and (almost invariably) his death. The hero might be a great villain or famous for virtue (a historical or Biblical character, for example), but the main purpose of the play was to focus on his career, especially the final chapter: the events leading up to his death, his death, and moral reflections upon the story (tragedy lent itself often to fairly orthodox Christian themes: punishments for arrogance, pride, overreaching, and so on). By common traditions, then, tragedies were serious, involving some ultimate questions about the moral framework of a human life in the face of our common fate, death. Hence, tragedies demanded a formal style in the language (e.g., blank verse), subject matter, and acting: tragedies were, by definition serious and formal—high art, if you will. In addition, the central character had to be, to some extent, larger than life—a suitable focus for our attention on major questions of human existence. Tragic heroes were thus almost invariably people of special social prominence: kings, generals, extraordinarily successful achievers (or over-achievers). About comedy, however, there was no such general agreement, and in Shakespeare’s time there was a fierce competition between rival companies seeking to win over audiences with different brands of comedy. As we shall see, such a competition is still alive in our culture. By way of illustrating this competition, let me list a few of the rival possibilities. One of the oldest styles of comedy, developed by the Greeks and a staple ingredient of Roman drama, was the so-called New Comedy, or comedy of manners. Here the dramatic focus is squarely on the middle-class urban family, its trials and tribulations, and, in the conclusion, a happy resolution of its problems. This is the sort of drama we are very used to seeing on television in programs like Hum Log, Buniyaad, Thoda Hai Thode Ki Zaroorat Hai, and so on, the staple fare of sit-coms [like Kaun Banega Crorepati, The Oprah Vinfrey Show]. New Comedy, in other words, presents to its overwhelmingly middle-class audience a image of itself, focusing on their 2006-07-22T12:45:48-04:00 http://75.150.148.189/free-essay/An-Introduction-to-As-you-Like-It-by-Shakespeare-30445.aspx Moral Significance of Evil in Macbeth Evil plays a predominant part in ‘Macbeth’ by William Shakespeare. Evil is evident throughout the play, albeit more obviously in Macbeth and his wife, in the witches or in other, less blatant, underlying instances. Macbeth, I feel, is relatively unsullied at the start of the play. He seems suited to where he is, as Thane of Glamis, as illustrated by Angus towards the end of the play in Act V.2 ln 20-22 “Now does he feel his title| hang loose about himself like a giant’s robe| Upon a dwarfish thief”, comparing him to a dwarf who has stolen the clothes of a giant i.e. King Duncan. Banquo also comments on his new title in I.3 ln 54, “New honours come upon him| Like our strange garments, cleave not to their mould| But with the aid of use.” It is interesting that the two both incorporate a theme of clothing in their speech. However, during his encounter with the witches, he is told of his inheritance: the Thanedom of Cawdor and King of Scotland. His thoughts at this point dismiss the witches as mad old women, but when Angus & Ross enter the stage and inform him of his appointment to Thane of Cawdor, his thoughts turn more sinister, as shown in a short speech aside of stage in I.3, “If chance may have me king, why chance may crown me without my stir”, the key word being ‘stir’ showing that he has intentions of disturbing the course of fate, be he however lays off the idea and decides that he needn’t interrupt it as it is prophesied that he will be King. However, he is not patient enough “ If it were done when ‘tis done, then ‘twere well| It were done quickly.” (I.7 ln 1-2) and resorts to murdering Duncan in II.2. From thereon, the evil in Macbeth seems to increase, as it were, scene by scene. Having murdered the king, he slays the two guards barring the threshold to Duncan’s room, Banquo and an attempt on his son, Fleance and Macduff’s family and “all my pretty little chickens and their dam”, “wife, children, servants, all.” (I.3). At first, it is a truly grave and difficult thing for Macbeth to murder Duncan, but after that it just seems to be a ‘slippery slope’, and, as Macbeth finds, “a little water clears us of this 2006-07-19T12:31:40-04:00 http://75.150.148.189/free-essay/Moral-Significance-of-Evil-in-Macbeth-30385.aspx A Midsummer Night's Dream Analysis Comedy or tragedy that is the question, Shakespeare has written more than a hand full of plays. People consider Shakespeare as a sad person that always wrote tragedies, but A Midsummer Night’s Dream on the other hand is not a tragedy. It is with out a shadow of a doubt a comedy; there are many reasons why A Midsummer Night’s Dream is one of Shakespeare’s many comedies. A Midsummer Night’s Dream is about lovers falling in and out of love for each other and in the end the lovers think it is only A Midsummer Night’s Dream. The reasons that convinced MND was a comedy was that it was funny and lighthearted, makes fun of human weakness, and mistaken identities etc. In a comedy the factor of being funny and lighthearted comes often. For example there are characters like Bottom, Snug, Quince, and Snout in the play to make people laugh. “ But I will aggravate my voice…” (I, ii, 78-79) Bottom says. That is an example of lightheartedness because Bottom does not mean what he is saying he really means to soften his voice, Shakespeare meant that to be funny. Another example is when Snout and his crew are rehearsing Bottom gets his head turned into a donkey head and Snout says “ O Bottom, art thou changed! What do I see on thee?” (III, i, 118-119). That is an example of the comedy because Bottom gets changed into an ass-head, if that is not funny what is? A further example of the funny side of Shakespeare is after Titania had fallen for Bottom the ass-head Bottom gets used to the royal treatment and tries to be smart and shows his egregious knowledge by saying “ Nothing, good monsieur, but to help cavalery Cobweb to scratch. I am marvels hairy about the face. And I am such a tender ass, if my hair do but tickle me, I must scratch (IV, i , 23-27). Determining the comedy from the tragedy does not just mean recognizing the funny and lighthearted it also includes the fact of mistaken identities. In MND mistaking identities comes easy. For instance Oberon the king of the Magic Forest tells his joyful servant to place magic flower nectar on an Athenian man to fall in love. Off goes Puck Oberons servant to find that 2006-07-17T22:50:37-04:00 http://75.150.148.189/free-essay/A-Midsummer-Night-s-Dream-Analysis-30322.aspx Instances of Parallelism in King Lear Many twists and turns characterize the television soap operas of today. Subplots are a distinctive trait of these daylight dramas, for they keep audience on the edge of their seats. Subplots keep the material fresh and the audience wanting more. Shakespeare uses secondary plots as a literary device to greatly dramatize the action of the play and to spark a contrast to his underlying themes in King Lear. The secondary plots can incalculably improve the effect of dramatic irony and suspense. The effective usage of subplots in King Lear, as a form of parallelism, exhibits analogous traits of prominent characters. Using such literary device permits the audience to understand the emotions of the essential characters in the play. The magnificent similarity of different plots and characters can illustrate Shakespeare's perfect use of parallelism in King Lear. Parallelism is greatly enhanced by the use of subplots, for it creates emphasis and suspense. The parallel between Lear and Gloucester displayed in the play cannot possibly be accidental. The subplot of Gloucester corresponds the major plot of Lear. The two fathers have their own loyal legitimate child, and their own evil and disloyal kin. Gloucester and Lear are both honorable men, who have children that return to them in their time of need, and are sightless to the truth. Like Lear, Gloucester is tormented, and his favored child recovers his life; he is tended and healed by the child whom he has wronged. Their sufferings are traceable to their extreme folly and injustice, and to a selfish pursuit of their pleasure. In the early beginning of King Lear, Cordelia says that her love for her father is the love between father and daughter, no more, no less. "Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; nor more nor less." (Shakespeare.I.i.93-95) In response, Lear flies into a rage, disowns Cordelia, and divides her share of the kingdom between her two unworthy sisters. Such folly and injustice is encountered by Gloucester in the secondary plot. "O villain, villain! His very opinion in the letter. Abhorred villain, unnatural, detested, brut- ish villain; worse than brutish! Go, sirrah, seek him. I'll apprehend him. Abominable villain! Where is he?" (I.ii.80-84) Gloucester fooled by his wick 2006-07-10T16:05:36-04:00 http://75.150.148.189/free-essay/Instances-of-Parallelism-in-King-Lear-30173.aspx Major Similarities of Hamlet and King Lear There are a lot of similarities in the two Shakespeare plays HAMLET and KING LEAR. I guess its because of the style in which Shakespeare wrote. William Shakespeare wrote three kinds of stories: comedy, tragedy and history. Both of these books are tragedies and they are very similar tragedies. In both of these stories there is a feud going on within the family. And in both the feud is between the children and their parents or relatives. Hamlet is looking for the revenge on his uncle for killing Hamlets father and hes upset with his mother marrying the murderer. Here Lears evil daughters try to completely destroy their father. Lear calls his daughters and asks them who loves the most. Regan and Goneril lie just to get Lears land and power. Cordelia honestly answers Lear and for that is given away to France, because Lear has gone out of his mind. After Lear gives out almost all his land he realizes his wrongdoing and tries to restore his power. But now its too late, because his daughters already took away all the land. He sees how evil his daughters really are and they don’t love him at all, so he curses them. Now Lear appears to be crazy from his actions, but in reality he exactly knows what is going on. Hamlet saw the ghost of his father and it told Hamlet that his uncle killed him to become the king. This shows that the person will even commit murder to get control of the country, just like we see in KING LEAR. After the ghost appeared to Hamlet, he started to act like he was crazy. But just like Lear, in reality he wasn’t crazy, he was thinking of how to get back at his uncle. The endings of both stories are very similar. Besides the fact that all the main characters in both stories die, its how they die that's interesting. Because Goneril wants to get Edmund, she poisons her sister Regan. Hamlets uncle wants to poison Hamlet, but by mistake he poisoned his wife, Hamlets mother. Hamlet by mistake kills his uncle servant Polonius. Because of the death of her father Ophelia (Polonius daughter) goes insane and later kills herself. Because Gonerils plan didn't work, she kills herself. At the end there is a duel between Edgar 2006-07-07T13:27:10-04:00 http://75.150.148.189/free-essay/Major-Similarities-of-Hamlet-and-King-Lear-30092.aspx Ophelia Developed by Symbolism, Imagery and Irony Denied the freedom of speech, she cannot survive the contemptuous conversations of the cruel world. Being a female in a kingdom full of chaos and deceitfulness, the harmless Ophelia is forced to keep silent and surrender to the domineering men in her life. Her lover feigns madness in an attempt to avoid prosecution of murder. By hiding behind his mask of insanity after accidentally killing Ophelia’s father, Ophelia’s lover ultimately loses his true-love: Ophelia. Hamlet is the name of Ophelia’s lover and the title of Shakespeare’s most renowned play. Although Ophelia is not the focal character in Hamlet, the audience is moved by the subtleness and complexity of her mind. The audience feels sympathetic towards Ophelia because she is completely undeserving of her emotional and physical suffrages throughout this tragedy. Ophelia’s character can be developed through the use of the literary devices of figurative imagery, symbolism and irony. First, Ophelia’s character is unearthed by the use of figurative imagery. This literary device functions to uncover the messages hidden behind Ophelia’s fractured speech and unpredictable actions. By drawing comparisons between what is unfamiliar to something that is familiar to the reader, figurative imagery can change complex ideas into relatable concepts. Ophelia’s character can be described as loving, gentle and innocent through the use of flower imagery. Ophelia’s brother, Laertes, first introduces this flower imagery associated with Ophelia: A violet in the youth of primy nature, Forward, not permanent, sweet, not lasting, The perfume and suppliance of a minute, No more. (I, iii, ll. 7-10) In this quotation, Laertes is trying to convince Ophelia that Hamlet is not to be trusted, and that his love for her may be deceitful. Laertes compares Hamlet’s love for Ophelia to a violet, which flowers in the early spring and smells very sweet, but does not last long. He believes that, like a violet that withers away shortly after blooming, Hamlet will soon fall out of love with Ophelia and she will be left alone. By warning Ophelia of Hamlet’s possible mistrust and by having concern for her feelings, Laertes shows the audience how deep a bond exists between himself and Ophelia. However, the fact that Laertes and his father both have little faith in Ophelia’s decisions shows that they think of 2006-07-05T15:53:42-04:00 http://75.150.148.189/free-essay/Ophelia-Developed-by-Symbolism-Imagery-and-Irony-30018.aspx Feeling no Sympathy for King Lear We see King Lear’s first foolish mistake in the way he decides to divide his kingdom in three parts. He believes that he can keep his title, and with it all the benefits of being King even after he abdicates. We see even more foolishness in the way he judges his daughters’ characters and misinterprets their words. The way in which he chooses to share his lands is another obvious indication of his lack of common sense. In giving his daughter the “love test” he shows how he is impressed by the big words Reagan and Gonnoreil display and fails to understand Cordelia’s message. Had he never spoken to his daughters before? It is obvious that he had little knowledge concerning his daughters’ true nature. Lear banishes Cordelia because he believed she was disrespecting him, and he also dismisses Kent for defending Cordelia. His poor judgment leads to tragic consequences, by sending those who care for him away he is left at the mercy of his enemies. He thrusts the wrong people and in doing so he condemns those who care about him. Lear is a fool, and his fool is a wise man, this contrast emphasizes on the fact that appearance is deceitful. Lear judges people from the first impression they give him, and ignores those who would help him. The fool represents wisdom and the king is a fool. Lear’s inability to listen to what those around him have to say may well be considered one of his foolish traits. Had he paid any attention to what people really intended with their words and actions. As a result of Lear’s mindless actions many suffer. Lear seems to be cursed by fate and he brings misfortune to those around him. Gloucester, Kent, Cordelia and the fool are all innocent, yet they are forced to suffer for Lear’s mistakes. Lear is a foolish man; he acts unwisely and deserved to be punished for the way in which he acted, and however the consequences for his actions seem to be far too dire. His punishment seems unfair as it is too tragic. However one can feel no sympathy for Lear, he was inconsiderate towards the fate of those who loved him. His stubborn and selfish attitude forces misery onto others. One can only pity Gloucester and Cordelia as they are innocent and 2006-07-05T15:50:20-04:00 http://75.150.148.189/free-essay/Feeling-No-Sympathy-for-King-Lear-30017.aspx The Supernatural in Macbeth In the play "Macbeth," there were many interesting sections which could be concentrated on due to the suspense and the involvement of the supernatural. The use of the supernatural in the witches, the visions, the ghost, and the apparitions is a key element in making the concept of the play work and in making the play interesting. Looking through each Act and Scene of the play, it is noticed that the supernatural is definitely a major factor on the play's style. The use of the supernatural occurs at the beginning of the play, with three witches predicting the fate of Macbeth. This gives the audience a clue to what the future holds for Macbeth. "When the battles lost and won"(Act I, Scene I, l.4) was said by the second witch. It says that every battle is lost by one side and won by another. Macbeth's fate is that he will win the battle, but will lose his time of victory for the battle of his soul. After the prophecies of the witches' revealed the fate of Macbeth, the plan in which to gain power of the throne is brought up. The only way to gain power of the throne was for Macbeth to work his way to the throne, or to murder King Duncan. Murdering the king was an easier plan since the motivation in his dreams urged him on. Lady Macbeth also relied on the supernatural by her soliloquy of calling upon the evil spirits to give her the power to plot the murder of Duncan without any remorse or conscience(Act I, Scene V, ll.42-57). The three sisters are capable of leading people into danger resulting in death, such as the sailor who never slept(Act I, Scene III, ll.1-37). Lady Macbeth has convinced her husband Macbeth to murder King Duncan. On the night they planned to kill Duncan, Macbeth is waiting for Lady Macbeth to ring the signal bell to go up the stairs to Duncan's chamber. He sees the vision of the floating dagger. The interest of the dagger is that it leads Macbeth towards the chamber by the presence of evil of the dagger being covered with blood. Then the bell rings and Macbeth stealthily proceeds up the staircase to Duncan's chamber. Once the murder has been committed, eventually Banquo has his suspicions about Macbeth killing Duncan to have power of the throne. There 2006-06-16T20:39:51-04:00 http://75.150.148.189/free-essay/Much-Ado-About-Nothing-The-Supernatural-in-Macbeth-29660.aspx Analysis of "The Tempest" by Shakespeare Often without realizing it people judge other people by how they look and not who they are. In the play The Tempest by William Shakespeare many of the characters poorly judged one another due to their appearance. Miranda’s first sighting of Ferdinand, Caliban’s mistaken identity as a monster, and Prospero’s pretending Miranda is marrying for love, and pretending he doesn’t want the marriage are all examples of how people are manipulated by their perceptions. Often when people are attracted to the opposite sex a lot of it has to do with first impressions, which ultimately leads their appearance. When Miranda first spies Ferdinand her initial reaction was that he was the love of her life. “ There’s nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with’t”. (1,ii, 457) Miranda assumes that Ferdinand is the one, love of her life, which she expresses, in the above quote. She believes that there is nothing wrong with him and he is the ideal person for her. Throughout the play Miranda never actually gets the chance to know him, all she was basing it on is his looks, and that is the third person she had actually seen since she had been on the island. Considering Ferdinand is Prince, if Miranda married him they would all be able to go home which resulted as another motive other than his looks for the marriage. Although nothing bad happened between the two of them it was obvious that the relationship was based purely on each other’s appearance of one another. Miranda was manipulated by her own perception of Ferdinand into getting married. Caliban’s appearance is one that most would think is unordinary, which has resulted in his mistaken identity of being a monster. While Caliban was wondering around the island cursing Prospero and blaming him for all the hardship he suffers he sees Trinculo, believing that he is one of Prospero’s spirits, he throws himself to the ground hoping he will be unnoticed. However Trinculo sees him and is unsure of what he sees at first. “What have we here? A man or a fish? Dead or alive? A fish: he smells like a fish; a very ancient and fish-like smell; a kind of, not of the newest, poor-John. A strange fish! Were I 2006-06-14T23:51:11-04:00 http://75.150.148.189/free-essay/Analysis-of-The-Tempest-by-Shakespeare-29514.aspx The Characters of Shakespeare 1.Introduction Characters have always been and still are the focal point of every play. This is not surprising, since it is they who make up the whole story. Judging by the way they talk and gesticulate, they do not only determine their own personality but they also develop the plot, the social context, the atmosphere and the theme of the whole play. Language is the most important factor, when it comes to identifying and analysing a certain character type. The picture that we, as the reader, get of a character is, on the one hand, a reflection of what he says, and, on the other hand, of how he says it. This will become clear if we look at the opening scene of As you like it. Here, Orlando complains in an inexorable stream of words about his upbringing - if he has had one at all -, in which he was treated like the black sheep of the family. He keeps me rustically at home, or, to speak more properly, stays me here at home unkept...His horses are better bred, for, besides that they are fair with their feeding, they are taught their manage. (1.1. 6-11) This extract from Orlando’s first speech is ‘a shout of protest.’ (Doebler, 111) In twenty-three lines Orlando gives vent to his wrath, a wrath he has choked back for much too long. He tries to portray himself as an uneducated and foolish person, a person who has been kept like a menial. Yet, it is made quite clear to the reader that this is not the case at all. Orlando draws a parallel with his brother’s cattle, thus, becoming aware of the fact that even the horses and oxen are superior to him, for ‘they are taught their manage.’ (1.1. 11) Orlando chooses here the word ‘manage’, a technical term that derives from the French word ‘manege’ (Shakespeare, Commentary) referring to the action and paces to which a horse is trained in the riding-school, particularly for military purposes. Orlando expresses himself in such a sophisticated manner, which a person who had not obtained a good education would have never been able to do. But it is not only the choice of words used that suggest that Orlando is actually far from being reduced to the state of an animal, but it is the length of this passage as well. Orlando does not 2006-06-13T18:09:31-04:00 http://75.150.148.189/free-essay/The-Characters-of-Shakespeare-29428.aspx King Lear Characters Thrust into an Unnatural Way of Life “Every person important to the action is thrust into an unnatural way of life.” In King Lear, written by William Shakespeare, this quote was very accurate. King Lear and Gloucester, both main characters in the play, were thrust into a life that was unfamiliar and caused both to react in different ways. King Lear was the protagonist in the play. The main theme of King Lear was entirely based on the way Lear was forced to endure a horrific life because of his two daughters, Goneril and Regan, who cast their father aside in order to obtain the power they craved. There are two ways in which Lear was forced to live a life to which he was not accustomed. Lear became physically and emotionally distraught, both cases directly linked to Goneril’s and Regan’s selfishness. Goneril and Regan knew that their father was going senile and therefore took this opportunity to worsen his condition. When Lear went to stay with Goneril, she did not speak to him and pretended she was ill. “ I will not speak with him. Say I am sick.” (I/iii/9) She then forced him to go to Regan’s house. However, when he arrived, she too had left, which caused him to feel alone. Lear became his daughters’ toy, as they passed him back and forth as if he was their ball in a game of catch. Not only did Lear’s daughters emotionally hurt him, but they physically harmed him as well. Lear was a king, and therefore had lived his entire life with the finest accommodations. Goneril and Regan had forced Lear in to a life he was not used to. On a night where “bleak winds/ Do scorely ruffle.” (II/iv/337-338), Goneril and Regan “Shut up your [Gloucester’s] doors.” (II/iv/342) and left Lear out in the storm. The King, who was used to elaborate castles and large chambers, was forced to spend a night as a poor citizen, searching for shelter from the cold. Similarly to the way that Goneril and Regan caused Lear to suffer, they also forced Gloucester to live in a way in which he was unaccustomed. Gloucester was very loyal to Lear, therefore he took Lear’s side in the civil battle between Lear and his daughters. For punishment, Lear’s 2006-06-11T20:07:26-04:00 http://75.150.148.189/free-essay/King-Lear-Characters-Thrust-into-an-Unnatural-Way-of-Life-29236.aspx Theme of Conflict in Shakespeare's King Henry IV Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. (Act 5 Scene 1, lines 115-138) Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the local world, and the conflicting moral values of characters from each of these worlds. This combination of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict. In the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince. Hal’s remark to his father indicates a now strong, independent mind, predicting that Douglas and Hotspur will not accept Henry’s offer because of their love for fighting. Henry’s reply in turn indicates a change in attitude towards his son, a newfound respect. Acknowledging Hal’s prediction, the king orders preparations to begin, and we see he has his own set of solid moral values: knowing that their ‘cause is just’ helps him to reconcile with his highly honourable conscience that there is indeed cause for war. Still maintained is the conflict between the very format of the text, with Hal and Henry’s conversation held in formal verse typical of the court world, in which Hal is now firmly embedded. Falstaff, however, sustains his equally typical prose speech, which indicates to the audience the enduring division between the court and tavern worlds. As soon as the king leaves, Falstaff immediately proclaims his unashamed cowardice, asking Hal to protect him in battle. The prince retorts with an insult to Falstaff’s enormous size, and abruptly bids him farewell. Gone are the jests that would accompany a conversation between these two at the beginning of the play, and Hal’s reactions to Falstaff now represent his moving away from the tavern world, and that he now belongs to the court world. Falstaff is extremely honest about his feelings towards the whole affair, bluntly stating that he wishes it all were over, exposing his strong reluctance to fight and interest in self-preservation. Again the prince offers only a rude retort before his exit, commenting that it’s a wonder Falstaff isn’t dead yet, as he well should be with all the overeating and overdrinking 2006-06-11T02:22:06-04:00 http://75.150.148.189/free-essay/Theme-of-Conflict-in-Shakespeare-s-King-Henry-IV-29174.aspx The Role of Salarino and Solanio in a Merchant of Venice The merchant of Venice is one of Shakespeare’s many fine works. One of the things that makes Shakespeare’s plays so entertaining are his characters. He often uses certain characters as comic relief, and some strictly for romance. Salrino and Solanio are Friends of main character Antonio. They play a small but important supporting role in Merchant of Venice. The role of Salarino and Solanio is to be bystanders that provide narration and comic relief. I call Salarino and Solanio bystanders because throughout the play they are never directly involved in the action. They are always somewhat removed. They only appear in five scenes. They are not present for the climax of the play; the trial scene (act IV.1). Their interaction with Antonio is limited to act I.1. They are not in any way involved in the fight between Shylock and Antonio. They are however, well versed in the drama. They are constantly discussing the events, but not taking an active role in them. They even satirize the drama. Act II.8 is a perfect example. They first discuss Shylock’s daughter stealing his money and jewels. Solanio describes Shylock’s tirade as: …A passion so confused, so strange, outrageous and so variable as the dog Jew did utter in the streets: (act II.8 L 12-15) They go on to discuss rumors of Antonio’s ship being destroyed, and Antonio and Bassanio parting company. We see Salarino and Solanio are involved in the drama, but not in the action. Another reason Solarino and Solanio can be seen as bystanders is that while they are friends with Antonio, they are aloof and less devoted to Antonio than Bassanio or Grationo. They certainly don’t speak of Antonio with love that Bassanio does. They do not offer to help pay off Shylock. They are not even present for Antonio’s trail. In act II.9 Solanio mocks Bassanio’s love for Antonio in saying “I think he only loves the world for him.”(ActII.9 L 50). Another example of their aloofness is when Salarino excuses himself from Antonio’s company by saying “I would have stayed till I have made you merry,/ If worthier friends had not prevented me.(act I.1, L60)” Obviously Salarino knows his place in the hierarchy of Antonio’s company, and illustrates it with a bit 2006-06-11T01:31:34-04:00 http://75.150.148.189/free-essay/The-Role-of-Salarino-and-Solanio-in-a-Merchant-of-Venice-29150.aspx Theme and Character Analysis of Much Ado About Nothing In Much Ado About Nothing, most of the characters had interesting relationships with each other. For example, Hero and Claudio, were deeply in love. Also, Don Juan, and Don John were fighting with each other. Another example was the close friendship between Benedick, Claudio, and Don Juan. But the relationship between Benedick and Beatrice was different than the others. In their relationship, they hated each other, that brought them together. Their personalities were so similar, that it made them sick of each other, but the similarities in their personalities is also what brought them together. Benedick was a smart, good-looking, and funny guy. He was very witty, and always had a response to anyone's comments. For example, when he was talking to Beatrice, he always had a comment to finish of the conversation. He also didn't like the idea of marriage. Benedick thought that marriage led to the trapping of men. When he heard about Claudio getting married, Benedick thought that Claudio was crazy, because Benedick felt that marriage was going to change the way Claudio lived. Benedick was also very stubborn. He never wanted to give into other people's ideas, and that was why he didn't want to give into the idea that marriage could be a good thing in a person's life. Beatrice was a character very similar to Benedick. She was a very independent person, and didn't want to rely on anyone for support. She also was very smart. She enjoyed reading poetry, and thought about things a lot. She also was against marriage. During one conversation, she even said that she would rather die than get married. Another characteristic of Beatrice was that she was very emotional. She often changed her mood all of a sudden for no apparent reason. Also, Beatrice kept many of her feelings inside her. Sometimes she would be angry but wouldn't show it, because she always had to feel strong, and look like she didn't need anyone. The traits and characteristics of Beatrice and Benedick were what brought them together, and also what separated them. Beatrice and Benedick were separated because, they always thought that they had to be independent, and not need each other. Another factor that kept them from 2006-06-07T18:54:57-04:00 http://75.150.148.189/free-essay/Theme-and-Character-Analysis-of-Much-Ado-About-Nothing-29124.aspx Modern Psychological Analysis Applied to Shakespeare's Romeo A healthy individual is one who behaves in ways that promote emotional well-being, resolves conflicts constructively, adapts to different situations and has self-discipline. Romeo lacks these qualities in the beginning. However, as he matures throughout the play, we see how the once irrational and impulsive boy has progressed into a deeper and more thoughtful man. Romeo matures in the play from an irrational boy to a thoughtful and deep man. His love for Juliet has transformed him from a boy who talks in clich¨¦s, to a man with a powerful command of speech. Unfortunately, we never do see him become a truly healthy individual. When the reader meets Romeo, he is presented as an emotionally shattered person. He’s in love with love. He has chosen a girl who'll never return his affection, and he spends much of his days pitying himself. Of Rosaline, he says, "She is too fair, too wise, wisely too fair / to merit bliss by making me despair" (I.i.230). He takes his time in being depressed and is almost as if he enjoys his misery. His moaning leaves him unable to act. Instead, he spends time wandering through trees or locked up in his room. This is supposedly unlike himself for he exclaims, ¡°Tut! I have lost myself, I am not here; this is not Romeo, he's some other where¡± (I.i.204). Here we see his irrationality which helps lead to his tragic death. Then he meets Juliet and discovers his true self. Almost immediately, his entire speech and tone changes and he is no longer grieving. Their love is so intense that Romeo's speech is transformed to poetry. The first time they talk together, their conversation effortlessly forms a sonnet. His emotions change quickly and are fickle. Romeo is not one who tries to start fights and will attempt to resolve his few conflicts peacefully. Romeo is shown generally as a well-liked person. Mercutio and Benvolio both want his attention; the Nurse thinks he's honest, courteous, kind, and handsome. His mother loves him so much that she dies of grief when he's banished; and even Lord Capulet calls him "a virtuous and well-governed youth" and refuses to let Tybalt bother him. Friar Lawrence loves Romeo so much that he'll do almost anything to secure his happiness. The exception, of course, is Tybalt. Romeo himself tells Tybalt, "Villain I am none... 2006-06-01T19:54:46-04:00 http://75.150.148.189/free-essay/Modern-Psychological-Analysis-Applied-to-Shakespeare-s-Romeo-29002.aspx Shakespeare's Use of Delight in his Literature Delight is definitely not the word I would use to describe my attempt to research and complete an essay on this word. In my search for interesting facts, or any facts at all, I could not find anything that was remotely interesting about it. There are many poems, quotes, and articles that include delight, yet none of them are specifically on the topic of delight. There are many things that are joyful, yet this research paper was not. I found that the word delight means “something that gives great pleasure or enjoyment”. Delight comes from the Middle English word “delit”, also Old French “delitier”. Which meant “a pleasure” (Webster). There are many words that mean “to give great pleasure or enjoyment”. Some of them include delectation, enjoyment, joy, pleasure, happy, and like. Those are for the noun delight. Delight can also be used as a verb. Some synonyms of the verb are cheer, enchant, gladden, gratify, overjoy, please, pleasure, tickle, and adore. You can use any of these to replace delight. The bible also uses delight many times. “A fool hath no delight in understanding, but that his heart may discover itself” (KJV Proverbs 18). I have no clue what that means because it doesn’t make any sense to me. If I had to guess as to what it is about then I would think that a fool, or someone that is not too bright, doesn’t enjoy or take pleasure in understanding life and hopefully his heart will help him to understand it. Shakespeare, the king of all literature, or at least that is how I feel about how all through out high school teachers have portrayed him. He used the word delight in many of his plays but I decided to look into King Henry the VI. Cade is speaking to Buckingham and Clifford and says “But you are all recreants and dastards, and delight to live in slavery to the nobility” (Shakespeare 4.8). He is saying that Buckingham and Clifford enjoy taking orders from the king and they are his slaves. I did not read the whole play so I do not know this is exactly what he is saying, but from what I gathered Cade is a rebel and is fighting against King Henry VI and Clifford and Buckingham are 2006-06-01T19:50:09-04:00 http://75.150.148.189/free-essay/Shakespeare-s-Use-of-Delight-in-his-Literature-29000.aspx Julius Ceasar Themes and Plot Development Act I: The play opens humorously with a little word play between Flavius, Marullus, and a few workers. The workers are on their way to see Julius Caesar who has recently returned from his victorious battle against Pompey. The reader immediately sees the dislike the tribunes have towards Caesar and on the other hand, the favor of the commoners. The scene moves to a large gathering where Caesar is the focus. As Caesar converses with Mark Antony, we learn that Caesar is superstitious. The belief in the supernatural and the forces of nature are very prevalent in the play and Caesar's comment is but one example. To keep with the idea of the supernatural, a soothsayer speaks, warning Caesar to beware the Ides of March. He acts as though he is not concerned. After the exchange with the soothsayer, Caesar is offered the crown three times and refuses each time, even though the people are cheering for him to accept the empororship. At the same time, Cassius is trying to convince Brutus that Caesar is too ambitious and should be killed before being allowed to rule the Roman Empire. Brutus, always seeking to do what is right, says that he will not betray his honor and loyalty to Rome. That evening, there are strange and unusual natural occurrences--the weather is very strange and violent and fire falls from the sky. Most of the people believe that the weather is a bad omen, but Cassius disagrees. He uses the unusual weather to reason that it is only for evil men (such as Caesar) who need to be afraid. The plotting against Caesar continues. Act II: Brutus is convinced by Cassius that it is for the good of Rome that Caesar be killed. Some of the other conspirators want to kill other people who are friends of Caesar's, but Brutus feels that it is not necessary to kill anyone else. Only the person responsible for the downfall of Rome should perish in the eyes of Brutus. Caesar is contemplating on whether he should remain home during the Ides of March ( which is March 15, the middle of the month). Calphurinia, Caesar's wife, tells Caesar of the horrible dream she had about his death and that the strange occurrences the night before are a prelude to his death. He agrees to stay until Decius, a conspirator, tells him her dreams were not of his death, but of him saving Rome. Thus he leaves for the Senate despite his wife's pleas. Meanwhile, Artemidorus waits in the streets of Rome for Caesar to pass so he can give him a note warning 2006-06-01T00:11:37-04:00 http://75.150.148.189/free-essay/Julius-Ceasar-Themes-and-Plot-Development-28956.aspx The Merchant of Venice and Anti-Sematic Themes It is interesting how social norms change over time. The Merchant of Venice was written in either 1596 or 1597. The audience of that era had 2006-05-31T18:43:57-04:00 http://75.150.148.189/free-essay/The-Merchant-of-Venice-and-Anti-Sematic-Themes-28931.aspx Twelfth Night - Character Study: Malvolio The character Malvolio (meaning literally “I mean ill will) is immediately affected by the implications of his name. His personage is implied directly to be one of negative and somewhat disagreeable nature, which is continued and supported throughout the play, leading to his downfall and mockery which both initially seem to be thoroughly deserved, due to his numerous defects of personality. The first evidence of Malvolio’s undesirable disposition comes with his own first appearance in the play during which he makes a point of insulting the wit and intelligence of Feste “I marvel your ladyship takes delight in such a barren rascal”. Through doing this he shows himself to be man who condescends to those that he believes to be lower than him in any way, by acting on his own personal belief of superiority, and this later becomes a major player in his downfall. Initial impressions are supported by further vices in Malvolio’s general character and these lead to further aversion to him. He shows himself to be a strict puritan and this is also suggested by the opinion of Maria “The devil a puritan that he is”. He denies himself indulgences and pleasure whilst at the same time begrudging these things of others. He makes a point of taking the moral high ground over Maria, Feste and more importantly, his social superior Sir Toby, when he scorns them for their revelries and “disorders”. This in turn adds to their desire to avenge him and bring him from his level of false authority, back to his true social class of a mere steward at which he is unable to give out orders, but only to receive them. Although he is a man of supposed purity and self-denial in practise, his aspirations are such that he becomes hypocritical. In turn he makes his character one of further malevolence. He secretly longs for the life of a man higher in social status and fancies that through the love of Olivia, he could become such a person “having come from my day bed, where I have left Olivia sleeping ”. At the same time he has great, worldly ambitions that are strictly against the puritan philosophy. This longing for new superiority and strong belief that he will gain it, causes him to be open for trickery and thus provides the starting point of the punishment and humiliation through which he 2006-01-21T06:55:51-05:00 http://75.150.148.189/free-essay/Twelfth-Night-Character-Study-on-Malvolio-28448.aspx What Was The Best Name For Julius Caesar? The novel Julius Caesar could be more appropriately named Brutus, but it is uncertain weather or not it really should be. This is for many reasons, such as the fact that Caesar didn’t play a very important active role in the play, but most of the things in the play happened as a result of something that he did, started, caused, or said. He died before most of the action of the play took place. There is also another reason the play might have been better named Brutus. The masses play a role in this. When the play begins, it appears as thought the book will be about, you could say, the life and times of Julius Caesar. He has just defeated Pompey, and everyone is cheering for him. Marullus and Flavious are even condemned to death for removing the decorations off of Caesars’ statues. The talk of the crowd is Caesar, and everyone wants him to have the crown, and become the new leader of Rome. As the play continues, however, it becomes obvious that the book is simply about what Caesar started, and than who continues his work, and who changes it. Antony, although he was associated (worked for) Caesar, ended up doing quite a lot (good or bad) for Rome, so why isn’t the play named after him? This proves that the play might not have been given the best name. Or had it? Caesar wanted to become king. That was his goal, and his motives were because he thought he was better than everyone was, and he even wanted “fat men among him”, so that he would look better. He didn’t, however, realize how stupid he really was. Had he listened to his wife, the one person he should trust, he might not have gotten killed. This probably would have allowed him to become king, and change Rome and it’s people to meet his satisfaction. And so, had it not have been for Caesar (or his stupidity), the play might have had an entirely different outcome. This is not necessarily something that can be proved, but it is certainly a reason why the play was possibly given the best name. Another reason for this is because Antony honored him so much, that he decided to start a war to get revenge on the people who 2006-01-03T05:24:00-05:00 http://75.150.148.189/free-essay/What-Was-The-Best-Name-For-Julius-Caesar-28387.aspx Conventions Of Shakespeare Conventions are commonly known as a customary feature of a literary work such as the use of a chorus in Greek tragedy or an explicit moral in a fable. They are found in stories, plays, essays, poetry, and movies. Conventions are found frequently in Shakespeare’s Hamlet, Taming of the Shrew, and Othello. They are also detected in D. H. Lawrence’s The Horse Dealer’s Daughter and The Rocking Horse Winner, and lastly in Henrik Ibsen’s A Doll House. These literary devices all grasp the same conventional concept. The use of a prop in a literary work is a perfect example of a convention—each prop is used to show a significant idea in its respective literary work. William Shakespeare was an English playwright and poet. He was recognized in much of the world as the greatest of all dramatists. In Hamlet, Shakespeare provides the first prop as letters. Ophelia proclaims, “My lord, I have remembrances of yours, That I have longed long to redeliver; I pray you, now receive them” (III.I.93-95). In this citation, Ophelia gives Hamlet the letters (“them”) of poetry he has written to her. With this action, she manages to devalue Hamlet, bring forth a feeling of worthlessness and unimportance. Another significant prop in Hamlet is the fencing sword. Fencing was a common, competitive and recreational sport practiced in the Middle Ages. The sword was usually tipped with foil to prevent injury. In act V, Hamlet and Leartes engage in a game of fencing. Leartes deceives Hamlet and “unbates” his sword. The unbated sword is soaked in poison and the opponents bleed on both sides (V.II.271-273). This occurrence signifies the revenge each son is instilled with. Hamlet is mislead by his long-lived acquaintance. Deception and revenge brought him to his final resting place Also in act V, Hamlet and Horatio watch two clowns while they dig a grave. While the clowns dig, they come across a skull. Hamlet pronounces, “This might be the pate of a politician, which this ass now o’er reaches; one that would circumvent God, might it not?” (V.I.66-67). This skull resembled Hamlet’s jester who has passed away over 20 years ago. The skull represented the dead smell in Denmark. 2006-01-01T00:51:45-05:00 http://75.150.148.189/free-essay/Conventions-Of-Shakespeare--28352.aspx Merchant Of Venice - Love at First Sight In Merchant of Venice, William Shakespeare brings two people together in love, Portia and Bassanio. Portia and Bassanio are alike by their love, their own friendship, and the caskets that brought them together. “But when this ring parts from this finger, then parts life from hence : O, then be bold to say Bassanio’s dead!” (II, ii). Bassanio and Portia are madly in love with each other, and you can tell by what they say. William Shakespeare proves this. Comparing Portia and Bassanio as lovers is rather simple. Portia and Bassanio were destined. All of the suitors that tried to marry and court Portia all failed because they were egotistic bastards that only thought of themselves and their rewards. “Who chooseth me shall gain what many men desire, why, that’s the lady, all the world desires her” (II, vii). The Prince of Morocco totally interpreted that the wrong way. Many men desire wealth, and valuables, and everything. He did not deserve her, and Portia knew that. She is intelligent and set the suitor’s up for a immense disappointment. So she could receive Bassanio, her love. Bassanio and Portia are perfect for one another. In love, because their hearts think alike. “As doubtful whether what I see be true, until I confirmid, sign’d, ratified by you” (III, ii). Bassanio loves Portia so much, that he would give himself to her. The other suitors only thought of themselves and their rewards. Portia may be a bit tricky, when it comes to choosing a husband, but she only knew what she wanted, and worked hard to get it, and got it. Bassanio, her prize. “I remember him well; and I remember him worthy of thy praise” (I, ii). Portia is comparing and contrasting all of the suitors she has to choose from, and she explains them all. Nerissa brings up Bassanio, and right away, Portia knew that he was the one. She says that he worthy enough to have her, to own her. He is the only one that she thinks is worthy of her. So she knows inside that he will pick the lead casket because he loves her and not possessions. He picked right. Now 2005-12-28T06:02:51-05:00 http://75.150.148.189/free-essay/Merchant-Of-Venice-Love-at-First-Sight-28294.aspx Critical Analysis Of A Passage Of Shakespeare's The Tempest [i:1a1cab556f]Renaissance and Restoration Literature[/i:1a1cab556f] [i:1a1cab556f]A critical analysis of a passage of Shakespeare's The Tempest[/i:1a1cab556f] Act I scene ii lines 320-365 The Tempest can be seen as a colonial text, containing New World ideas. Shakespeare was most probably influenced by recordings of an expedition to Virginia that took place in 1610. One of the ships carrying an admiral and a governor, was separated from the rest of the fleet by a tempest, and ran aground on an island. This island proved to be a haven where they were able to repair the ship, and from there they managed to arrive at Jamestown a year later. The survival of these men was at that time regarded as a miracle. Strachey, who was on this ship, made detailed recordings of the events in letters, in which he also mentions the impossibility of reforming the isle's natives. This was a major issue in the Renaissance debate in Shakespeare's time; The civilized versus the natural man, Art versus Nature. The Tempest deals with these issues, ultimately having art coming to terms with nature in the end. Prospero, a mighty, authoritative man and magician, driven from his dukedom in Milan, has settled on an enchanted island with his daughter Miranda. They share the island with Caliban, a strange monster-like creature who is the island's natural inhabitant. At first they get along well: Prospero enjoys educating Caliban and teaching him to speak, and in turn Caliban shows him the beauties and wonders of the island. However, when Caliban makes an attempt to rape Miranda, the relationship turns hostile; Caliban is to serve Prospero as his slave, and is confined to imprisonment in a rock. Prospero, the civilized man, father, and colonizer, who is ruled by intellect and self discipline, uses his white magic (Art) to control Nature: He creates the tempest and controls the island, it's inhabitants, and visitors, as a natural ruler. He has the ability to control others, and enjoys educating Caliban, but in doing so we may conclude that he is imposing his will on him, as colonizers did on the enslaved natives. Prospero may appear cruel at times, and use his power for more nasty means: After the attack on Miranda he threatens Caliban continuously, tyrannically depriving him of his rights and liberty. However, one can argue whether this treatment is justified, as Caliban "didst seek to violate/ The 2005-08-25T06:21:27-04:00 http://75.150.148.189/free-essay/Critical-Analysis-Of-A-Passage-Of-Shakespeare-s-The-Tempest-27770.aspx Hal And Hotspur In Richard III [i:f613a557e6]Explore and compare the ways that Shakespeare presents prince Hal and Hotspur in this play?[/i:f613a557e6] In this play Shakespeare goes into particular detail with two of the younger characters, Prince Hal and Hotspur. Throughout the play we hear about Hotspur, his personal qualities, bravery, charm and humour. We learn of his views on honour, but we also learn of his lack of realism, his rashness and lack of political acumen. We see Prince Hal's wit and humour, political acumen and signs of genuine redemption and we realise he is worthy of kingship. Throughout the play we witness Hotspur's fall from grace and how it coincides with Hal's gradual ascendancy. Hotspur's rise and fall is largely linked to the turnout of important events in the play. Hotspur showed personal qualities that were rare in a person. He was generous, energetic and honourable. These qualities gained him respect and admiration from his peers and made him a natural born leader, although he had numerous bad qualities that contributed to his downfall. In the opening section of the play Shakespeare presents Hotspur as being more honourable and more worthy of royalty than Prince Hal. He begins this play at the height of his achievements but his progress gradually declines, until Prince Hal finally kills him in the battle for the throne in Act 5 Scene 4 Lines 76-79, Shakespeare portrays him in a negative way; [i:f613a557e6]"I better brook the loss of brittle life Than those proud titles thou hast won of me 2005-08-23T07:53:39-04:00 http://75.150.148.189/free-essay/Hal-And-Hotspur-In-Richard-III-27762.aspx Julius Caesar: Brutus Is A Honorable Man In Shakespeare's play of "Caesar" Brutus is a conspirator who portrays a person who favors a republic for Rome. Brutus is an honorable man. Many characters in the play show there reverence for Brutus. Brutus exemplifies his honor in many ways. Brutus is obsequious when he is needed to abet his fellow Romans. Brutus is an honorable man. "Am I entreated to Speak and Strike? O Rome I make thee promise, If the redress will follow, then receivest thy full petition at the hand of Brutus" (Shakespeare 397). Brutus will obey to whatever the romans convey to him. Consequently, Brutus joins the conspiracy inorder to help the romans rid rome of Caesar. Brutus also understands that he is putting it all on the line for his romans, therefore Brutus is an honorable man. Brutus is a scrupulous man, whose virtues endure. "No not an oath, If not by the face of men, the sufferance of our souls, the time's abuse-If these motives be weak, break off betimes, and every men hence to his idle bed; So let high sighted tyranny rage on, till each man drop by lottery" (Shakespeare 399). Brutus said that if the conspirators do not join for a common cause, then there is no need for an oath because the conspirators are self-righteous, and they are serving the romans. If the conspirators don't bind together, then each man will go his own way, become a weakling, and die when it suits the tyrants caprice. Brutus is advocates peace, freedom and liberty, for all romans, which shows that Brutus is an altruistic as well as an honorable man. Brutus also had a compassion for Caesar when he had killed Caesar. "If then that a friend demand why Brutus rose against Caesar, this is my answer: Not that I loved Caesar less, but that I loved Rome more(Shakespeare 421). Brutus had honored Caesar but Brutus felt that Caesar was to ambitious. Brutus also felt that Caesar made the romans as slaves. Therefore, Brutus is an honorable man. Brutus is a noble man who was revered by many. Brutus had joined the conspiracy because he had the desire to help the commoners. He was a follower of idealism, where the romans would possess peace, liberty and freedom. 2005-08-19T06:57:58-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Brutus-Is-A-Honorable-Man-27731.aspx A tragic hero often has three important characteristics; his superiority which makes his destruction seem more tragic, his goodness which arouses pity, and his tragic flaws. In the Tragedy of Julius Caesar, Brutus is an excellent example of a hero with tragic flaws. Brutus is superior because of his close friendship with powerful Caesar and because of his popularity with the people. The conspirators need Brutus to join the conspiracy because of his friendship with Caesar and his popularity among the people. Brutus’ idealism and goodness are evident throughout the play; he sees only the goodness in people and naively believes others are as honorable as he. Even his enemy, Mark Antony, comments on these traits at the end of the play: “This was the noblest Roman of them all.” Brutus’ tragic flaws are idealism, honor, and poor judgment which are taken advantage of at first by Cassius and later by Mark Antony. Brutus’ major flaw is his idealism, his belief that people are basically good. His first misjudgment of character is of Casca who he believes should not be taken too seriously. Cassius disagrees and states that Casca just puts on this appearance: “However he puts on this tardy form. This rudeness is a sauce to his good wit, which gives men stomach to disgest his words with better appetite.” Brutus’ next miscalculation of character involves Cassius’ motives. Brutus believes that Cassius wants to assassinate Caesar for the good of Rome, while Cassius truly wants power and a Rome not under Caesar’s control. Cassius manipulates gullible Caesar with flattery of Brutus’ ancestors and of his honor. At the same time, Cassius points out Caesar’s weaknesses: his deafness, his epileptic fits, and lack of swimming ability. Brutus continues his misjudgment when he reads the bogus letters and believes that these express the true feelings of all of Rome. The letter opens with this quote: “Brutus, thou sleep’st; awake, and see thyself.” Had Brutus been a perceptive man, he would have remembered Cassius telling him to allow others to serve as mirrors. Brutus’ idealism continues to surface when he does not deem it necessary to take an oath of unity to the cause. He says, “No, not an oath. If not the face of men, the sufferance of our souls, the time’s abuse if these be motives weak, break off betimes.” Brutus tries to cover the conspiracy with honor and virtue. He 2005-08-19T06:51:01-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Brutus-Tragic-Flaws-27730.aspx Morality in Julius Caesar The removal of Caesar from office by assassination in Shakespeare’s Julius Caesar attempts to justify an unethical act by focusing on the motivation behind the actor instead of the righteousness of the act itself. Throughout this play, the empirical immorality of murder is ignored. A man’s ethics are surely corrupt when the taking of another’s life for the sake of politics is merited. Therefore, Shakespeare ought not have erroneously depicted the slaying 2005-08-15T09:04:28-04:00 http://75.150.148.189/free-essay/Morality-in-Julius-Caesar-27692.aspx The Serpent and the Flower in Shakespeare’s Sonnet 55 Romeo and Juliet, Act III, Scene II, Line 77 JUL: O serpent heart, hid with a flowering face! Macbeth, Act I, Scene V, Line 63 LADYMACB: Look like the innocent flower, But be the serpent under ’t. Pericles: Son of Tyre, Act I , Scene I, Line 127 PER.: And both like serpents are, who though they feed On sweetest flowers, yet they poison breed. The serpent’s trickery of mortals is a theme which echoes tirelessly in the art, literature, and theology of both the Judaeo-Christian and Eastern philosophies. The instinctive illustration of the image of the serpent as a symbol of deceit for Western interpreters is the biblical (Genesis) creation story--putting forth a falsely kind face in order to urge a hero(ine) toward the loss of innocence--and the message is retained that the serpent will employ sweet-seeming logic that is, in truth, unsound and wield assurances which will ultimately be proven empty. Similarly, in the Epic of Gilgamesh, Gilgamesh has returned from a journey to the bottom of a deep well and plucked from there a magic plant of knowledge with which he plans to return to his people. Taking a rest beside this pool, he falls asleep. A serpent slithers out from beneath a flower beside the pool and eats the magic plant, in some translations biting Gilgamesh as well. Here we see that, again, the serpent wishes to rob mortals of the power of knowledge(and the closeness to the Creator(s) in their theology that is implicit in that knowledge), this time by physically hiding itself beneath beauty. A case may be made that the serpent/flower imagery which Shakespeare uses to such extent in his plays comes both from the Christian creation story, in keeping with the faith of the Elizabethan era, but draws also from the Gilgamesh myth. The latter may seem less credible than the former to a modern reader, but Elizabethan scholars had far more extensive familiarity with classics in literature than is called for in present curricula. It is interesting that the Bard “recycled” this imagery with such repetition, when one considers that Shakespeare himself wrote in a flowery style that often packed an unexpected bite. A true master of the double entendre, and highly skilled at creating devilish puns--these facets of his writing are never so blatantly displayed as in 2005-08-15T00:21:02-04:00 http://75.150.148.189/free-essay/The-Serpent-and-the-Flower-in-Shakespeare’s-Sonnet-55-27634.aspx RICHARD III: Devil, Beast Or Human? THE ESSAY QUESTION: Anne: No beast so fierce but knows some of pity. Richard: But I know none, and therefore am no beast. Anne: O wonderful, when devils tell the truth! To what extent is the character of Richard in Richard III presented as devil, beast or human?[/i:bb10ef8ea6] MY ESSAY: In Shakespeare’s presentation of the character of Richard III, we can clearly identify “beastly, savage, [and] devilish” qualities and characteristics. Indeed, Richard can be described as an amalgam of both the Vice and the Machiavelli figures, traditional dramatic representations of evil and monstrosity. However, some critics disagree, instead arguing that Shakespeare introduces a psychological dimension to Richard’s character, making him sharply human rather than an allegorical Devil-Vice figure or typical Machiavelli. Upon studying and analyzing Richard’s character qualities, it becomes obvious that he holds many characteristics in common with “the formal Vice, Iniquity”, a character in medieval morality plays. In these morality plays, the Vice functioned primarily as the “hell-govern’d” devil figure, an embodiment of pure evil and the ruthless opponent of God. Clearly, Richard “hath ever been God’s enemy”, in that he directly challenges and murders England’s heirs, the inheritors of the divine right of kings, who held the throne with the permission and support of God. However, although offering constant opposition to God, the Vice character was subject to God’s will, and was always ultimately punished. Similarly, as the “foul defacer of God’s handiwork”, Richard receives his deserved punishment at the hands of Richmond, the conventionally good character who fights and overcomes Richard “in God’s name.” In constructing the character of Richard, Shakespeare also draws upon many theatrically effective elements of the Vice tradition. Firstly, Richard’s grotesque appearance is a quality shared by Vice figures. Indeed, his “deform’d, unfinish’d” body, withered arm, limp and hunched back symbolise the fact that “sin, death and hell have set their marks on him”, and indicate that he is “unfit for any place but hell”. Furthermore, like many Vice characters, Richard establishes an intimacy with the audience through his soliloquies and asides, continually taking the audience into his confidence. He shares his “devilish plots” with us, and invites applause and celebration for his “deeds inhuman and unnatural”. Lastly, Richard possesses the same sardonic sense of humour and skill in wordplay as did Vice characters. Indeed, he jokes with the audience about how 2005-07-27T04:33:18-04:00 http://75.150.148.189/free-essay/RICHARD-III-Devil-Beast-Or-Human-27400.aspx Shakespeare - Love's Labour's Lost - The Use Of Thrust Space When you ask a person to describe the layout of a theatre to you, most people show you that the stage goes on one end of the building, and the audience goes on the other, facing the stage. Most theater-goers are probably not aware that the space they watch the majority of plays in is not the only way that an audience can be engaged with the actors on the stage. In Shakespeare’s Love's Labour's Lost directed by Mark Harrison a “thrust” stage is used to being the audience closer to the action of the play. The thrust space has the audience arced around the stage, almost completely covering the front, and two sides of the stage. Only backstage is reserved for the actors, everywhere else the audience is able to peer down on the action unfolding below them. The theatrical space definitely has an impact on how a certain play must be presented to an audience. It is very apparent after watching Love's Labour's Lost that the director had to stage the action of the play to involve everyone in the audience, and not just the people directly in front of the stage. Normal blocks guidelines tell directors, and thus actors, to always keep the back away from the audience. They need to face the audience at all time, but how is this going to happen on a stage where 3 sides of your body are always exposed to the audience? Mark Harrison’s answer comes in the form of movement. In the opening scene of Love’s Labour’s Lost the actors are constantly circling the stage, so everyone gets a good view of very aspect of each character. At fisrt this kind of blocking may seem un-natural, because the characters seem to move for no apparent reason, but after careful examination, the circle-blocking is actually a very effective method of staging. Harrison planned out the first scene’s movements well, always changing the direction a character would face during appropriate beats. The characters would not circle about the stage randomly, but instead that would move opposing each other, as in an argument. The movements actually helped drive the play along and give meaning to an otherwise cluttered script, that without proper blocking nearly impossible to interpret. The first act concludes with all three male characters spying on one another, each realizing that 2005-07-27T04:09:50-04:00 http://75.150.148.189/free-essay/Shakespeare-Love-s-Labour-s-Lost-The-Use-Of-Thrust-Space-27398.aspx Katharines Transformation From Shrew To Contented Housewife - Taming Of The Shrew Shakespeare's The Taming of the Shrew is a comedy, which traces the transformation of Katharina, an ill-tempered shrew to a contented housewife. Katharina has long been overshadowed in beauty by her younger sister Bianca, and has developed a deep resentment for her and for society as a whole. Petruchio, by no means a normal suitor is able to transform her by persisting, as no man has yet to do for her. Finally Katharina is realizes that she would be happiest being subservient to her husband. Petruchio is able to transform Katharina from an irritable shrew, to a satisfied housewife. Katharina develops into a shrew because of her deep resentment for her sister. Bianca is well known across Padua for her beauty, while Katharina is famous for her bad-temper, Hortensio: Her name is Katharina Minola, Renown'd in Padua for her scolding tongue (P.22) This resentment grows deeper, as evident in the play that Bianca has three suitors, all of whom are very rich; while Katharina has only one suitor (who is paid to court her). Katharina feels as though she will never marry, and must therefore be strong and self-reliant. In addition to her resentment for her sister, comes her resentment for her father. Baptista seems to be very partial towards Bianca; Baptista treats her like a prize while he treats Katharina like a burden. Katharina becomes a shrew due to her jealousy of her sister, and the neglect of her father. Petruchio reforms Katharina by using self-assured persistence. Gremio and Hortensio promise to pay the cost of Petruchio's wooing and Petruchio promises that he will wed Katharina. When Katharina first meets Petruchio, she yells and curses him. However Petruchio persists, and eventually wins her over by demonstrating his carefree nature. He shows up to his own wedding in rags, Biondello: Why, Petruchio is coming in a new hat and an old jerkin, a pair of breeches thrice turned, one buckled, another laced, an old rusty sword ta'en out of the town-armoury, with a broken hilt, and chapless . . . . . . (P.46) His technique has to be different from other suitors, most suitors woo by demonstrating courage, or by compassion. If Petruchio had shown these qualities to Katharina, they would have been thrown into a marriage where Petruchio would have to constantly endue Katharina's tongue-lashings. Therefore Petruchio shows her that he loves her by 2005-07-11T15:29:13-04:00 http://75.150.148.189/free-essay/Katharines-Transformation-in-Taming-of-the-Shrew-27296.aspx The Assassination of Julius Caesar: Controversial retelling of the fall of the Roman Republic Nominated for the 2003 Pulitzer Prize, there is a lot to dissuade the serious reader of Roman history in Michael Parenti's "The Assassination of Julius Caesar". A radical commentator on contemporary society and historical memory, Parenti applies a "Marxian-lite" analysis of the late Republic. In hearing a talk he once gave, one comment he made stands out; "One of the great pleasures of learning history is not the learning it but the unlearning of preconceived notions". To that end he has an axe to grind with historians of the era and, in the first chapter, he names names and takes few prisoners. The effect of all this is to put the reader off a bit. I was taken aback as Parenti railed against the "gentlemen historians" and the class based prism that they have used to interpret the assassination of Caesar. The question Parenti sets out to answer is not who killed Caesar, that is well established, but why. His answer is that the conspirators were representative of the most reactionary elements of a conservative Senate and the wealthy class interests they defended. To Parenti the domestic policies of the late republic were the politics of class warfare. Landed interests expropriated land from citizen-soldiers away on war, voted themselves subsidies and lowered their own tax burden. Lower class citizens were denied a majority of the wealth flowing into the Republic (the result of new conquests) and deprived of their small farms with little but the tribunes to protect their interests. Attempts by reformers such as the Gracchi were seen as a usurping of the republic's institutions, most importantly the Senate. To Parenti the senatorial exhortations to uphold the "rule of law" were natural; the Senate passed the laws, the laws benefited their class. The elimination of the threat of reformers became a quest for many of the ruling class and these self-styled "optimates" resorted to inciting the populace and "death squads" to eliminate those seen as radicals. The book reserves a special chapter for Cicero, and it isn't pretty. An excerpt reveals the extent of Parenti's view of the Roman Senator; "A self-enriching slaveholder, slumlord and senator Cicero deplored even the palest move towards democracy". A hypocrite when it was warranted, Cicero was a staunch opponent of the Roman "masses" and of Caesar. The author paints Cicero 2005-06-29T05:27:01-04:00 http://75.150.148.189/free-essay/The-Assassination-of-Julius-Caesar-27197.aspx The Assassination of Julius Caesar: Sincere and Heartbreaking Historical Document Critics who fail to see through the very blindness's Parenti challenges throughout this book are just proving his point. It is not, as "L.C" Robinson asserts above, that Parenti thinks everybody is wrong. Parenti's interest is not in some puerile (and typically American) debate over who is right and who is wrong, but rather a very fair and disinterested discussion about the consequences of crippling class stratification in ancient Rome and, as it turns out, throughout much of the history that followed. People like Mr. Robinson speak from precisely the privileged perspective Parenti works so tirelessly to challenge here. It is unfathomable to people such as himself that there are those for whom education is a pipe dream, an unattainable aspiration prohibited by the financial situations into which they were born. From the days of Sallust, Seutonius and Polybius on down to Edward Gibbon, education was a privilege reserved for the wealthy. Literacy rates in ancient Rome were horrific; the vast majority of the population could neither read nor write. This insurmountable disadvantage persisted over thousands of years and continues even today, when there are only two ways by which an American kid gets a good education: rich parents, or a willingness to plunge oneself into tens of thousands of dollars into debt (I myself owe $57,000 in student loans, which will not be paid off for 30 years). In less developed nations, literacy rates remain as bad as they were in Caligula's day. Still, though, America's own literacy rate ranks just 48th in the world (see Morris Berman's "Twilight of American Culture"). Of course, some of us are lucky enough to land a scholarship or grant, but that is too often like winning the lottery. People like Seutonius and Edward Gibbon were able to write history because they could afford to; they grew up in the upper classes where education was not only affordable but often taken for granted. Parenti's thesis is absolutely correct: history is written by the winners, the privileged and the fortunate. Thus, the condemnation of the ancient Roman populace as an unwashed and filthy rabble persists not because it is fact, but because it is the only history that circumstances have allowed. It is one of history's most glaring ironies that the privileged classes of ancient Rome considered themselves morally superior to plebs and slaves, when 2005-06-29T05:25:34-04:00 http://75.150.148.189/free-essay/The-Assassination-of-Julius-Caesar-Historical-Document-27196.aspx William Shakespeare, renowned worldwide as one of the greatest playwrights of all time, was a man who was captivated by history. He wrote a number of histories for previous kings of England, including Richard the Lionheart, Henry VIII, and King John, but it is for his tragedies, which he is best known. Shakespearean tragedies manage to convey more than they intend to in their study of life and its essential futility, and are by far Shakespeare's most acclaimed works. From HAMLET to ROMEO AND JULIET, Shakespeare's classic plays concerning the great inevitable are arguably his best. JULIUS CAESAR is no exception. The real Julius Caesar was a man of great compassion who desired power, but above all, wanted to see the citizens of Rome prosper. After defeating the armies of Pompey and gaining control of all of Rome, Caesar began to institute changes intended for the betterment of the Roman society, and quickly became beloved by his citizens. Unfortunately, his forgiving nature misled him into pardoning and later befriending a former ally of Pompey's named Marcus Brutus. Caesar placed Brutus in several positions of power within the Republic, and trusted the young man above all his allies. Brutus soon began planning the assassination of Caesar with another holder of high office named Cassius. He felt that the power Caesar held would go to the dictator's head, and in the case of a weaker man, this would have been true, but certainly not Caesar. Why would a man who twice refused a crown upon its offering in rapid succession begin to misuse his power and let it get the better of him? The conspirators, however, let this not get in the way of their hunger for power, merely disguised as concern for the welfare of all of Rome. Despite some misgivings, Brutus aided in the assassination of Caesar, and was soon an enemy of the Roman Republic under the adopted son of Caesar, Octavius. Before he and Cassius could be hunted down by the new leader of Rome, however, they committed suicide. Octavius Caesar later took the name of Augustus and ushered in a golden age for Rome. Shakespeare's play, however, only covers events up to Caesar's death. Despite some historical inaccuracies, Shakespeare managed to remain, for the most part, accurate in his depiction of the assassination. A few things that Shakespeare changed were the character of Brutus, whom he changed 2005-06-29T05:19:06-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Reflection-27193.aspx "From Egoism to Humility” in Shakespeare's King Lear In Shakespeare's King Lear, Shakespeare paints Lear's egotistic attitude, both of which made his life tormented and full of misery. Because of his poor judgement and excessive pride, he loses not only the kingdom that he takes pride in but most importantly, the daughter that loves him the most. However, as the play progresses, Lear journeys from egoism to humility and death. Lear is a very egotistic man. In the beginning, the foolish king (who out of whim) issues a challenge to his children to which they must respond by trying to outdo each other in praising their father. The daughter who displays the most affection takes the largest part of the kingdom. He says, ...Tell me my daughters Which of you shall we say doth love us most That we our largest bounty may extend Where nature doth with merit challenge. (I.i.38-39, 49,52-54) To this, his elder daughters (Goneril and Regan) both express their love claiming that despite being married, they love their father with their "all." On the other hand, the youngest daughter Cordelia feels that her "love's/More ponderous than my tongue" and says "nothing" when the king asks her to "draw/A third more opulent than your sisters." (I.i.lines 88, 86-87) By refusing to offer praises to her father, Lear who is "injured" by the daughter "he loved...most" (I.i.line 291), disowns and disinherits Cordelia. The first scene of Act I gives the readers a clear view on Lear's egoism. He sees himself as righteous, and his decisions just. When the Earl of Kent tells him to reconsider his decision, he refuses to do so and goes as far as accusing Kent to being a "recreant" and banishes him from the kingdom, saying that "on the tenth day the following,/Thy banished trunk be found in our dominions,/Thy moment is thy death." (I.i.lines 177-179) Even the King of France finds Lear's "love test" absurd and Lear "unkind" and says that, "love's not love/When it is mingled with regards that stands/Aloof from th'entire point." (I.i.lines 239-241) Lear's egoism is further highlighted when the Fool comments on Lear's mistakes. The Fool castigates Lear for giving away his kingly authority and for disinheriting Cordelia. (I.iv.lines 101-108) However, instead of listening to the Fool, Lear reminds the Fool of "the whip" (I.iv.line113), a punishment for bringing a "pestilent gall to me." (I.iv.line117) Lear's egoism eventually causes his doom. Goneril and 2005-06-26T19:46:45-04:00 http://75.150.148.189/free-essay/From-Egoism-to-Humility-in-Shakespeare-s-King-Lear-27132.aspx Anyone with a working knowledge of Shakespeare's plays knows that As You Like It is a light, airy comedy. It is clearly not one of Shakespeare's greatest plays. As You Like It is more obscure than famous. Even amongst the comedies it comes nowhere close to the popularity of plays such as A Midsummer Night's Dream, The Tempest, or Twelfth Night. That said, it is a treasure in its own right. This is so, if for nothing else, because it contains one of the greatest pictures of a woman to be found in Shakespeare's works, excluding the Sonnets. Ah, sweet Rosalind. In her are encapsulated so many ideas about the nature of woman. She is first pictured in a rather faux-Petrarchan manner. This quickly fades as an intelligent woman comes to the fore. While the intelligence remains, she is also torn by the savage winds of romantic love. Rosalind, in all her complexity and self-contradiction, is a truly modern female character. Most of the women in Shakespeare's tragedies and historical plays are either window dressing (as in Julius Caesar) or woefully one-sided (Ophelia, Lady Macbeth). This is not the case with Rosalind. Rather than being marginalized, she is the focus of a good chunk of the play. Instead of being static and [standard], she is a complex evolving character. When Rosalind first appears, she outwardly looks much like any other lady of the court. She is a stunning beauty. She is much praised for her virtue. Both of these elements factor in the Duke's decision to banish or [do away with] her. Rosalind falls in love immediately upon seeing Orlando. In this way she at first seems to back up a typically courtly idea of "love at first sight." Also, she initially seems quite unattainable to Orlando. These are echoes of Petrarchan notions that proclaim love to be a painful thing. This dynamic is stood on its head following her banishment. Rosalind begins to question the certainty of Orlando's affection. She criticizes his doggerel when she finds it nailed to a tree. Rather than wilting like some medieval flower, she puts into effect a plan. She seeks to test the validity of her pretty-boy's love. In the guise of a boy herself, she questions the deceived Orlando about his love. Yet Rosalind is not always so assured. Her steadfastness is not cut and dried. Composed in his presence, Rosalind melts the second Orlando goes 2005-06-19T19:15:08-04:00 http://75.150.148.189/free-essay/As-You-Like-It-a-Comedy-by-Shakespeare-27011.aspx To Bard or Not to Bard In the last several years, an alarming trend has developed on many prestigious college campuses. Universities such as Dartmouth, Amherst, and Georgetown have dropped Shakespeare as required reading for English majors. These universities encourage students to eschew the Bard in favor of contemporary authors and pop culture theory. The displacement of Shakespeare on college campuses represents a grievous error. By marginalizing Shakespeare and encouraging students to champion the mundane, great universities will become marginal themselves. An oft-cited argument for dropping Shakespeare focuses on the “difficulty” of his language. Students and some educators argue that Shakespeare is too difficult to understand. In fact, people use Shakespeare’s language all the time. How many people say “for goodness’ sake!”? Have something “vanish into thin air”? Won’t “budge an inch”? “Have seen better days”? Felt “tongue-tied”? Students who say Shakespeare is “Greek to me” reject him with his very words. Besides enriching our language with these vivid images, Shakespeare also introduced a myriad of new words into our vocabulary. Because of Shakespeare we can exclaim over the “obscene,” weep at an “assassination,” loathe a “premeditated” crime, and marvel at the “submerged” Titanic. Shakespeare serves as a progenitor of Modern English. Those who study English language and literature are remiss if they ignore the vast contributions of Shakespeare. Additionally, having a thorough knowledge of Shakespeare insures that a student recognizes many of the touchstones of English literature. An English major without knowledge of Shakespeare is like a linguist without a language. Artists refer to Shakespeare so often that to be ignorant of the Bard is to miss the significance of many other works. Authors expand the dimensions of their works when they allude to Shakespeare: witness Brave New World, Kiss me Kate, or To Be or Not to Be. Students unfamiliar with Shakespearean allusions cannot appreciate fully an author’s intent. Another argument offered against Shakespeare attacks his relevancy—Shakespeare is too old to be studied. If we believe this argument, we reject love, laughter, betrayal, murder, tyranny, and loss as facets of our lives. What tabloid shies away from the latest Hollywood romance? Who did not weep over the tragic loss of our dreams of a new Camelot? Who will deny the frightening power and cruelty of Bin Laden? When we reject 2005-06-16T08:05:58-04:00 http://75.150.148.189/free-essay/Should-Shakespeare-be-Required-Reading-for-English-Majors-26875.aspx Twelfth Night, by Shakespeare: Analysis of Fools A fool can be defined in many meanings according to the Oxford English Dictionary On Historical Principles. The word could mean "a silly person", or "one who professionally counterfeits folly for the entertainment of others, a jester, clown" or "one who has little or no reason or intellect" or "one who is made to appear to be a fool" (word originated from North Frisian). In english literature, the two main ways which the fool could enter imaginative literature is that "He could provide a topic, a theme for mediation, or he could turn into a stock character on the stage, a stylized comic figure". In William Shakespeare's comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery. He and many other characters combine their silly acts and wits to invade other characters that "evade reality or rather realize a dream", while "our sympathies go out to those". "It is natural that the fool should be a prominent & attractive figure and make an important contribution to the action" in forming the confusion and the humor in an Elizabethan drama. In Twelfth Night, the clown and the fools are the ones who combine humor & wit to make the comedy work. Clowns, jesters, and Buffoons are usually regarded as fools. Their differences could be of how they dress, act or portrayed in society. A clown for example, "was understood to be a country bumpkin or 'cloun'". In Elizabethan usage, the word 'clown' is ambiguous "meaning both countryman and principal comedian". Another meaning given to it in the 1600 is "a fool or jester". As for a buffoon, it is defined as "a man whose profession is to make low jests and antics postures; a clown, jester, fool". The buffoon is a fool because "although he exploits his own weaknesses instead of being exploited by others....he resembles other comic fools". This is similar to the definition of a 'Jester' who is also known as a "buffoon, or a merry andrew. One maintained in a prince's court or nobleman's household". As you can see, the buffoon, jester and the clown are all depicted as fools and are related & tied to each other in some sort of way. They relatively have the same objectives in their roles but in appearance wise (clothes, physical features) they may be different. In Shakespeare's Twelfth 2005-05-27T05:27:36-04:00 http://75.150.148.189/free-essay/Twelfth-Night-Analysis-of-Fools-by-Shakespeare-26766.aspx Shakespeare's King Lear, Moral and Theme Shakespeare's tragedy King Lear is a detailed description of the consequences of one man's decisions. This fictitious man is Lear, King of England, who's decisions greatly alter his life and the lives of those around him. As Lear bears the status of King he is, as one expects, a man of great power but sinfully he surrenders all of this power to his daughters as a reward for their demonstration of love towards him. This untimely abdication of his throne results in a chain reaction of events that send him through a journey of hell. King Lear is a metaphorical description of one man's journey through hell in order to expiate his sin. As the play opens one can almost immediately see that Lear begins to make mistakes that will eventually result in his downfall. The very first words that he speaks in the play are :- "...Give me the map there. Know that we have divided In three our kingdom, and 'tis our fast intent To shake all cares and business from our age, Conferring them on younger strengths while we Unburdened crawl to death..." (Act I, Sc i, Ln 38-41) This gives the reader the first indication of Lear's intent to abdicate his throne. He goes on further to offer pieces of his kingdom to his daughters as a form of reward to his test of love. "Great rivals in our youngest daughter's love, Long in our court have made their amorous sojourn, And here are to be answered. Tell me, my daughters (Since now we will divest us both of rule, Interest of territory, cares of state), Which of you shall we say doth love us most? That we our largest bounty may extend where nature doth with merit challenge." (Act I, Sc i, Ln 47-53) This is the first and most significant of the many sins that he makes in this play. By abdicating his throne to fuel his ego he is disrupts the great chain of being which states that the King must not challenge the position that God has given him. This undermining of God's authority results in chaos that tears apart Lear's world. Leaving him, in the end, with nothing. Following this Lear begins to banish those around him that genuinely care for him as at this stage he cannot see beyond the mask that the evil wear. He banishes Kent, a 2005-05-27T05:26:37-04:00 http://75.150.148.189/free-essay/Shakespeare-s-King-Lear,-Moral-and-Theme-26765.aspx Supernatural in Shakespeare's Plays In the time of William Shakespeare there was a strong belief in the existence of the supernatural. Thus, the supernatural is a recurring aspect in many of Mr. Shakespeare¹s plays. In two such plays, Hamlet and Macbeth, the supernatural is an integral part of the structure of the plot. It provides a catalyst for action, an insight into character, and augments the impact of many key scenes. The supernatural appears to the audience in many varied forms. In Hamlet there appears perhaps the most notable of the supernatural forms, the ghost. However, in Macbeth, not only does a ghost appear but a floating dagger, witches, and prophetic apparitions make appearances. The role of the supernatural is very important in Hamlet and Macbeth. A ghost, appearing in the form of Hamlet¹s father, makes several appearances in the play. It first appears to the watchmen, Marcellus and Bernardo, along with Horatio near the guardsmens' post. The ghost says nothing to them and is perceived with fear and apprehension, ³It harrows me with fear and wonder². It is not until the appearance of Hamlet that the ghost speaks, and only then after Horatio has expressed his fears about Hamlet following it, ³What if it tempt you toward the flood, my lord, or to the dreadful summit of the cliff². The conversation between the ghost and Hamlet serves as a catalyst for Hamlet¹s later actions and provides insight into Hamlet¹s character. The information the ghost reveals incites Hamlet into action against a situation he was already uncomfortable with, and now even more so. Hamlet is not quick to believe the ghost, ³The spirit that I have seen may be a devil... and perhaps out of my weakness and my melancholy..abuses me to damn me², and thus an aspect of Hamlet¹s character is revealed. Hamlet, having no suspicion of the ghost after the production by the players, encounters the ghost next in his mother¹s room. In this scene the ghost makes an appearance to ³whet² Hamlet¹s ³almost blunted purpose². Hamlet is now convinced of the ghost and he no longer harbors any suspicion. He now listens to it, ³Speak to her, Hamlet². In Hamlet, the supernatural is the guiding force behind Hamlet. The ghost ask Hamlet to seek revenge for the King¹s death and Hamlet is thus propelled to set into action a series of events that ends in Hamlet¹s death. The supernatural occurs four 2005-05-27T05:24:46-04:00 http://75.150.148.189/free-essay/Supernatural-in-Shakespeare-s-Plays-26764.aspx King Lear - Good vs. Evil In the King Lear play, Shakespeare creates many conditions in which humans live in the world. The main characters in the play are used to portray Shakespeare's ideas. One of these ideas which Shakespeare is trying to portray is evil between the characters and in the world which are emphasized throughout the play. The evil, created by humans, is outweighed by good in the world of King Lear. Evil was created by humans who decided to do wrong to others. Duke of Albany, said that all evil people will be justly punished (ACT V, iii, 303). Albany indicated that it is the people who caused evil and people decided to do evil, not gods. Lear believes that since Edgar is out on the heath he must have given everything to his daughters as well (ACT III, iv, 62ff). Since he believes that Edgar gave everything to evil Lear must believe that people are the cause of evil. It were Lear's daughters who decided to do wrong to Lear and it was Lear's fault in giving away all of his land. Si ughters are the humans in the play, it is the humans who caused the evil and Lear believes that humans were the ones who created evil. Edgar, is another character in the play who believes that evil is caused by humans and not the gods. Edgar said, "The gods are just, and of our peasant vices make instruments to plague us" (ACT V, iii, 169). Edgar clearly says that the gods are right and it is the people who are responsible for promoting evil in the world. It is us who make the instruments necessary for evil to spread and plague the world. In the world of King Lear many characters believe evil was caused by the people and not by the gods. Even though evil was created by humans good will always exist. After King Lear was captured he showed that even if evil exists, good will always be present. Lear speaks about love with Cordelia in the prison cell and how they will still have each other despite of the evil around them (ACT V, iii, 8). On another occasion Lear also says that despite all the evil in the world the raw nature, which is good, is still unharmed (ACT IV, iv, 90-92). Lear discovers nature's beauty by playing with the mice and 2005-05-26T09:46:43-04:00 http://75.150.148.189/free-essay/King-Lear-Good-vs_-Evil-26737.aspx THE CHANGING ROLE IN VIOLA CESARIO in The Twelfth Night In Shakespeare's "Twelfth Night", it is clearly evident that the fluctuation in attitude to the dual role and situation and tribulations imposed upon the character of Viola/Cesario ends up in a better understanding of both sexes, and thus, allows Viola to have a better understanding for Orsino. Near the opening of the play, when Viola is adopting her male identity, she creates another self, like two masks and may decide to wear one or the other while swinging between the two identities in emotion and in character. She decides to take on this identity because she has more freedom in society in her Cesario mask, which is evident when she is readily accepted by Orsino, whereas, in her female identity she would not be. Thus, a customary role in society and to the outlooks of others is portrayed. Orsino sees Cesario, as a young squire just starting out in the world, much like himself as a young, spry lad, so he has a tendency to be more willing to unload onto her with his troubles and sorrows, seeking a companion with which to share and to teach. Thus, Viola grows in her male disguise to get a better feeling for his inner self, not the self that he shows to the public, or would reveal and share with Viola in her true female self, but rather his secret self, as he believes he shares with a peer. So, she grows to love him. But, Orsino's motivation is actually not love for Viola, but rather he seems to be in love with love itself. His entire world is filled with love but he knows that there might be a turning point for him, like when he says: If music be the food of love, play on; give me excess of it, that, surfeiting, the appetite may sicken, and so die. 1. (I,I,I-III) This quote shows that he knows that he is so caught up in "love", that he hopes his appetite for love may simmer when he takes more than he can handle. 1. Shakespeare, William. Twelfth Night. Longman's Canada Limited, Don Mills, Ontario, 1961. All subsequent quotes are from this edition. Near the end of the play, when all tricks and treacheries are revealed and all masks are lifted, Orsino "falls" in love with Viola. He first forgives her/him of her/his duty to him, 2005-05-26T09:40:44-04:00 http://75.150.148.189/free-essay/The-Changing-Role-in-Viola-Cesario-in-The-Twelfth-Night-26733.aspx Use of Contrast in Act I of The Tempest William Shakespeare used many different writing devices when he wrote his plays. In Act I of The Tempest, the use of contrasts between characters, setting, and ideas were often used to develop the story, and more importantly, the messages that Shakespeare wished to portray by the play. One good example was how some characters in the first act had their counterparts. Ariel had Caliban, and Gonzalo had Ferdinand. The relationship between Ariel and Caliban could clearly be seen throughout Act I, scene II. Ariel was the "airy spirit" that could assume different shapes, such as the lightning flames seen on the ship (Shakespeare 31), and who had quickness, lightness, grace, and total control over his actions. On the other hand, Caliban who represented the body, couldn't control his actions and thus made him the opposite of Ariel. He even tried to rape Miranda once, but was stopped by Prospero in the process. In fact, it might even be safe to say that Caliban was anti-Ariel, being slow, stupid, and lazy. Gonzalo and Ferdinand were also contrasted in this act. In Act I, scene I lines 28-33, Gonzalo made fun of the boatswain by saying that he didn't look like the type to drown, instead he resembled more of the type to be hanged. Thus implying that no one on the ship would drown. This gesture by Gonzalo showed that he was an optimistic person. On the other hand, after landing on the island in Act I, scene ii, Ferdinand grew worry of his father and immediately presumed he was dead. He even went as far as saying that he was now the new King of Naples (Shakespeare 45). Therefore, one can see that Ferdinand did not have a positive outlook and wasn't as optimistic as Gonzalo. From the contrasts between Ariel - Caliban, and Gonzalo - Ferdinand, one develops a character profile of the four and starts to recognize some ideas that Shakespeare was trying to bring about in The Tempest. Contrast between the settings was also present in Act I. The tempest in the beginning of the play caused violent winds and total confusion aboard the ship. This chaos disturbed Shakespeare's Social Order. The boatswain, not the King, was giving out orders to the 2005-05-26T09:39:43-04:00 http://75.150.148.189/free-essay/Use-of-Contrast-in-Act-I-of-The-Tempest-26732.aspx Analysis of Shakespeare's Sonnet "Not Marble, Nore the Gilded Monuments" Shakespeare's sonnet LV entitled "Not marble, nor the gilded monuments" is a well-crafted poem. In the first line Shakespeare uses a word, namely gilded, that can mean more than one thing. I also found this word of interest because I had never heard of it. In the Merriam-Webster dictionary to gild can have six different meanings; (1) to overlay with or as if with a thin covering of gold; (2) to give money; (3) to give an attractive but often deceptive appearance to; (4) to make bloody; (5) to add unnecessary ornamentation to something beautiful in its own right; and (6) to make superfluous additions to what is already complete. The word is Middle English; from the Old English word gyldan alike to the Old English gold. The Middle English use of this word is dated in the 14th century, this makes since because Shakespeare was born in 1564, thus placing the origination of gild before his use of it in Sonnet LV. Shakespeare also uses gild in two of his plays, "To gild refined gold, to paint the lily" from Shakespeare's King John, and "Gilded tombs do worms enfold" from Shakespeare's Merchant of Venice. The use of gild in this two plays hint to me that he purposely uses gild to mean different things. To overlay with gold is the most straightforward definition of gild. Shakespeare is telling the person for whom his is writing that with this poem his memories of that person will outlive the monuments of today. He is proclaiming that the pyramids overlaid with gold, the palatial tombs left to princes and royalty is nothing to the memorial of words he has left his love. The work of the mason and of the statute maker will perish under war brought by tyrants, greed, and sin. But his words will not come undone by any man or godly power to the end of time as he states in line 7, "Nor Mars his sword nor war's quick fire shall burn the living record of your memory". His rime or rhyme will survive world without end. What is money or death when you're making tributes? The second and the fourth definition of gild, to give money and to make bloody, respectively, speak to how physical commemorations were 2005-03-29T01:23:37-04:00 http://75.150.148.189/free-essay/Analysis-of-Shakespeare-s-Sonnet-Not-Marble,-Nore-the-Gilded-Monuments-26437.aspx Women and Patriarchal Society in Shakespeare The domination of women through patriarchal expectations is common throughout Shakespeare’s works. An examination of Ophelia, Hero, and Desdemona portrays their victimization through male centered forms of power. These patriarchal power structures classify women as walking wombs who must remain virtuous until marriage. The pressure from these expectations leaves women weak and vulnerable. As long as they appear subservient to men, they are considered good. However, the more women try to represent modesty, chastity, and loyalty, the more they are victimized. Male domination causes the women to remain childlike rather than attain maturity. Because of the passive ideals placed on women, they become unable to act and think for themselves and cannot fully understand intimacy. As Dusinberre believes, ‘The struggle for women is to be human in a world which declares them only female.’1 Through Shakespeare’s depiction, woman are confined and deprived into submissive obedience. Most people believe Hamlet’s Ophelia to be ‘the most static and one-dimensional’ character.2 She has been labeled as innocent, defenseless and helpless due to her dominating father and brother. Dreher states, ‘She has been alternately pitied and condemned,’3 others have classified her, ‘a helpless victim,’4 who ‘must seek to hear her own voice,’5 and who ‘obeys the commands of her brother and father.’6 Although these critiques are based on the text, a feminist’s glance shows that Ophelia is more than what superficial analysis allows her to be. ‘Traditional readings’portrayed her as a simple, pretty girl of flowers whose mad scenes were artfully sung and danced.’7 These representations ignore the pain beneath Ophelia’s innocent shell. The tragic events of her life should be given more attention and consideration. Instead of attempting to understand her motive, readers create a repressive role for her, which parallels her experience with her father. For instance, Ophelia expresses her love for Hamlet only to have it suppressed by her father. She states: My lord, he hath importuned me with love / In honorable fashion / ‘And hath given countenance to his speech, my lord, / With almost all the holy vows of heaven. (I.iii.109-13) In return, Polonius commands: Do not believe his vows, for they are brokers, / ‘I would not, in plain terms, from this time forth / Have you so slander any moment of leisure with the Lord Hamlet. / Look to’t, I charge you. (I.iii.126-34) Due to her father’s harsh words, Ophelia 2005-03-29T01:01:08-04:00 http://75.150.148.189/free-essay/Women-and-Patriarchal-Society-in-Shakespeare-26428.aspx Cyrano de Bergerac and Immature Love There is a lot of immature love in Edmond Rostand's Cyrano de Bergerac. Immature love is a feeling that you love someone without truly knowing who he or she is and what they are like, you just love them based on looks and/or social status. When Christian sees Roxane he falls head-over-heels for her. Roxane, at first, pursued Christian based on his looks alone. Roxane was looking for an intelligent man and she found one, but what she didn't know was that she credited the wrong man for the letters she received. Deep inside Christian feels that he is doing the wrong thing, yet his immature love for Roxane over-powers it. Christian first has feelings for Roxane after seeing her in the theater. Very quickly after laying his eyes on Roxane, Christian wanted to know about her. He asked Ligniere: Christian: (look up and sees Roxane) There! Quick-up there-In the box! Look!- Ligniere: Herself? Christian: Quickly-Her name? Ligniere: Madeleine Robin, called Roxane...refined...intellectual... Christian: Ah!- Ligniere: Unmarried... Christian: Oh!- (Act 1, pgs. 13 and 14) It is obvious that Christian wants to get to know Roxane. Christian is willing to do any thing to impress her, even lie to her and he himself. Cyrano, having known Roxane for all his life, wants to marry Roxane, but he realizes she is in love with Christian. Although Cyrano is deeply in love with Roxane, he would rather be a friend with her than not speak to her at all. Christian never truly knows about Cyrano's love for Roxane. Cyrano makes many hints of his love for Roxane, but due to Christian's immature knowledge for Cyranos vocabulary, he fails to notice the hints. At the end of act 2, Christian tries to prove his nobleness by talking about Cyranos nose. Christian, knowing that Cyrano takes comments about his nose offensive and extremely serious continues to challenge Cyrano. Cyrano gets extremely angry, yet he refuses to hurt Christian because of his promise to Roxane to protect Christian. Cyrano: ...I will defend your little honor. (Act 2, pg.65) Cyrano calls for everyone to leave he and Christian alone: Cyrano: (bellowing) Tonnerre! Out of here!-All of you! First Cadet: At last-The old lion wakes! Cyrano: All of you! Leave me here alone with that man! (Act 2, pg.82) When Cyrano is alone with Christian he tells Christian why 2005-02-20T05:31:44-05:00 http://75.150.148.189/free-essay/Cyrano-de-Bergerac-and-Immature-Love-26272.aspx Richard The Third - VIEWS AND VALUES: RICHARD III Richard the third is one of the most provocative examples of literary text I have ever been privileged too discover. It explores many sociological aspects of Shakespeare's time and can be even used as a tool to explore our modern society. This can be done as it delves into aspects of human character which are the very fabric of humanity as we know it. It does this predominantly through Richard who's absolute domination of the text is unparalleled out of my relatively short list of literary encounters. Every scene within the play, whether Richard is actually present or not he is the dominant figure. If he is present he dominants the scene with his witty and ascendant mannerisms and should he happen to be exempt from a scene which is a rarity in itself, he is usually connected in some way and is constantly on the mind of the viewer. I think Richard, Duke of Gloucester is one of the most determined literary figures I have ever come across. I feel success is dependent upon a number of factors. I feel the most important of these is for one to be determined and for their characteristics to reciprocate their goals. In the play Richard the third Richard was determined to become the King of England but also, more importantly to prove a villain. Although on the surface one might say Richards determination lay in him wanting to become King, I feel he only used to apparent want to be crowned as a medium to exhibit his true determination; to prove a villain. In the first scene of the play, Richard announced in a narration, his plan to become king. Richard plainly stated that he was "Deformed, Unfinished, and sent before his time" and "since he cannot prove to be a lover; he is determined to prove a villain. A true villain must be highly intelligent as Richard undoubtedly was. Richard proved this quality in a number of ways; he was highly manipulative and persuasive and was constantly manipulating situations so it fitted in with his overall evil puzzle. Richard devised a brutal stratagem to ascend to the English throne. Brilliantly, he executed his plan. Heartlessly, he executed family, friends, and subjects. Richard did indeed display these characteristics and therefore fulfilled his goal to ascend the throne and also, more importantly to prove a 2004-12-22T19:49:14-05:00 http://75.150.148.189/free-essay/Richard-The-Third-Views-and-values-Richard-III-25960.aspx Shakespeare - Henry 5 - Before The Shining Walls Of Harfleur Before The Shining Walls Of Harfleur In the play Henry V, during the siege of Harfleur, King Henry delivers a speech, which stirs the battle-weary men (who are thinking of deserting before the coming winter), into a frenzy, winning the battle and continuing the siege. Later, as a result, Harfleur surrenders. Henry's speech is masterfully delivered, with good use of grammatical schemes, an inventive use of tropes, and a cunning grasp of the troops' needs and mindset, or pathos. The speech is delivered as a motivational gesture, from the king to his subjects. He uses the speech to manipulate these common soldiers from many different countries into a patriotic camaraderie, the spirit in which the enemy was defeated. Henry uses several distinct schemes in his speech. He opens his speech with a repetition, "Once more onto the breach, dear friends, once more;"(III.i.1) which implies that they have all been working hard and are tired of fighting, and he realizes this as much as them. He opens the speech this way so he can appeal to their patriotic spirit, and tell how cowardly it would be to give up now, after all they have done. At the same time, he sets a common ground between them, one soldier to another. Later, he uses a wide range if roughly parallel phrases, telling them to "lend the eye a terrible aspect", "set the teeth and stretch the nostril wide", and "Hold hard the breath and bend every spirit / To his full height." (III.i.6-17) He does this to get them into the spirit of battle with these phrases, and essentially says 'get ready, be courageous, act fearsome.' Next, he uses antithesis in his claim that "Fathers that, like so many Alexanders, / Have in these parts from morn till even' fought / and sheathed their swords for lack of argument" (III.i.19-21). He is saying, essentially, that their ancestors took joy in the simple act of war. They tended towards being soldiers so much that they would fight just for the sake of fighting, regardless of alignment or reason. But these soldiers do have the reason, and it is a war, so they should fight doubly hard as their forefathers. Next, there are the numerous tropes that Henry uses. Figures of speech and comparisons one of Henry's 2004-12-21T08:10:34-05:00 http://75.150.148.189/free-essay/Shakespeare-Henry-IV-Before-The-Shining-Walls-Of-Harfleur-25948.aspx In Shakespeare's Taming of the Shrew, one topic that has been debated, interpreted, discussed, reinterpreted and adapted has been the character of Katharine, the shrew, and whether she was tamed, liberated, or just a good enough actress to make everyone think she was in fact, tamed. There are many arguments for and against each of these points, as well as an argument that discusses one television adaptation of Taming of the Shrew that presents Katherine not as the expected shrew, but as Petruccio's tamer. In addition to the television show, two different movies also discuss the present different adaptations of Katherine. The first movie is the Franco Zaffirelli adaptation staring Richard Burton and Elizabeth Taylor. This movie presents an adaptation in which Petruccio tames Katherine, but leaves it open for the viewers to interpret whether or not Katherine is just acting. The other example I am using is a movie called 10 Things I Hate About You. This movie is a 1999 adaptation of the Taming of the Shrew. Although the directors have changed almost every part of the Shakespearean play, the underlying story is mostly the same. Kat and Patrick are thrown together, and it becomes Patrick's job to tame Kat. In this adaptation, both Kat and Patrick learn and change from each other. Though there are many adaptations and interpretations of Katherine and the way she turns out, she is not tamed, and she does not tame, instead she is liberated, and learns to live and love. There is much evidence, which supports the argument that Petruccio tamed Katherine. For instance, in the opening of the play, Katherine is very vocal and aggressive. Men, women and children trembled whenever she came around, including her father and sister. An example of this is when Katherine is talking with her father about his love for her sister. "What, will you not suffer me? Nay, now I see/ She is your treasure, she must have a husband. / I must dance barefoot on her wedding day, / and for your love to her lead apes in hell. / Talk not to me. I will go sit and weep/ Till I can find an occasion of revenge" (Act 2 Scene 1, Lines 31-36). From the moment that Katherine and Petruccio meet, Petruccio vows to tame the shrew. He begins the taming process immediately. After Kate and Petruccio are married, Kate attempts to assert 2004-07-05T22:14:59-04:00 http://75.150.148.189/free-essay/Taming-of-the-Shrew-25481.aspx Simply stated, students should study Shakespeare's works in school because of the incredible value within them. In addition to exposing students to a multitude of literary techniques, Shakespeare's plays challenge the student with difficult language and style, express a profound knowledge of human behavior and offer insight into the world around us. William Shakespeare is recognized by much of the world as the greatest of all dramatists. The intricate meanings, extensive vocabulary, and powerful imagery contained within his works demonstrate the phenomenal story telling ability of the English playwright. "Shakespeare's use of poetry within his plays to express the deepest levels of human motivation in individual, social and universal situations is considered one of the greatest accomplishments in literary history." School programs offer students the opportunity to study Shakespeare at length and provoke a greater appreciation of his literary ability. Analyzing his work enables students to recognize, understand and respect the playwright's true genius. Evident in Shakespeare's plays is the broad use of irony, imagery, rhythm and other literary devices. Through these devices, he establishes atmosphere and character, and intrigue. Exposure to these devices provides students with a broad knowledge of literary style and technique, while serving to develop and improve writing skills. Also, because much of the modern literary ideas and writings allude to and can be traced back to Shakespeare, familiarity with his works can only be an advantage to the student. Shakespeare wrote his plays to appeal to Elizabethan audiences. Much of the text is dated or archaic and is initially unknown to the typical student. Yet upon thorough study, the student will gain a deeper knowledge and understanding of Shakespeare's words and the English language. Despite the difficulty that dated text presents, the passions and emotions described by Shakespeare touch the hearts of his readers and audience, students included. Vivid imagery and poetic descriptions are presented effectively and have a great impact on the audience. Readers are provided with the opportunity to step into the lives of his characters; to feel their emotions and understand their motivations, a rewarding experience for the student. Although Shakespeare's wrote his plays more than 350 years ago, the relevance of their themes and subjects still exists. The morals and values presented in his works speak to the audience, often offering a new perspective on the world in which they live. Students are affected by the powerful and complex characters and are rewarded with profound insights 2004-07-05T22:13:54-04:00 http://75.150.148.189/free-essay/Why-Should-Students-Study-Shakespeare-in-School-25480.aspx In Shakespeare's "Twelfth Night", it is clearly evident that the fluctuation in attitude to the dual role and situation and tribulations imposed upon the character of Viola/Cesario ends up in a better understanding of both sexes, and thus, allows Viola to have a better understanding for Orsino. Near the opening of the play, when Viola is adopting her male identity, she creates another self, like two masks and may decide to wear one or the other while swinging between the two identities in emotion and in character. She decides to take on this identity because she has more freedom in society in her Cesario mask, which is evident when she is readily accepted by Orsino, whereas, in her female identity she would not be. Thus, a customary role in society and to the outlooks of others is portrayed. Orsino sees Cesario, as a young squire just starting out in the world, much like himself as a young, spry lad, so he has a tendency to be more willing to unload onto her with his troubles and sorrows, seeking a companion with which to share and to teach. Thus, Viola grows in her male disguise to get a better feeling for his inner self, not the self that he shows to the public, or would reveal and share with Viola in her true female self, but rather his secret self, as he believes he shares with a peer. So, she grows to love him. But, Orsino's motivation is actually not love for Viola, but rather he seems to be in love with love itself. His entire world is filled with love but he knows that there might be a turning point for him, like when he says: If music be the food of love, play on; give me excess of it, that, surfeiting, the appetite may sicken, and so die. 1. (I,I,I-III) This quote shows that he knows that he is so caught up in "love", that he hopes his appetite for love may simmer when he takes more than he can handle. 1. Shakespeare, William. Twelfth Night. Longman's Canada Limited, Don Mills, Ontario, 1961. All subsequent quotes are from this edition. Near the end of the play, when all tricks and treacheries are revealed and all masks are lifted, Orsino "falls" in love with Viola. He first forgives her/him of her/his duty to him, the master; then says that she shall now be her master's 2004-07-05T22:13:37-04:00 http://75.150.148.189/free-essay/Twelfth-Night-The-Changing-Role-In-Viola-Cesario-25479.aspx Taming of the Shrew Illusion vs. Reality As a passing traveler in Padua, one could easily make superficial assumptions about the inhabitants. On the surface, Katherina seems like a vicious tiger that is angry at the entire world. Petruchio first appears like the type of man that anybody would like to have as a friend. At first glance, Bianca seems like a heavenly vision of beauty that any man would be lucky to have for a wife. However, after the courtship of Katherina begins, the true personalities of the characters are revealed. When a person's own family fears them, one would assume that there is good reason for it. In Katherina's case though, nobody ever takes the time to listen to what she actually feels. When she says, "A pretty pet! It is best put finger in the eye, an she knew why." (Pg. 16), she is not acting maliciously but rather calling out for attention. In contrast to all the flattery that Bianca receives, the only time people ever talk about Katherina is when she acts like a shrew. A more vulnerable side to Katherina actually surfaces when she arrives at Petruchio's house. As Petruchio taunts her with food, she exclaims, "I pray you husband, be not so disquiet: The meat was well, if you were so contented." (Pg. 70) Disposing of the invincibility she maintains in Padua, she hungrily entreats her new husband to be reasonable. Taking off the fierce mask she wears in the beginning of the play, Katherina exposes the reality that she too is human. Stumbling onto the scene in Padua, Petruchio makes a grand entrance as a man who brings merriment to all those around him. He jokes with Hortensio and eagerly accepts the offer to woo Katherina. At his first encounter with the eldest daughter, he seems like the perfect match for her. He matches her wit for wit and skillfully reacts to every move she makes. When she says she has the sting of a wasp, he replies, "My remedy is then to pluck it out." (Pg. 42) Clever and alert, his personality is initially appealing. As time passes however, Petruchio lets his cruel and tormenting ways manifest. Bent on gaining the complete obedience of his new wife, he refuses to let Katherina attend Bianca's wedding unless she admits that the sun is the moon (when it is not). Opposite of being jovial, he manipulates 2004-07-05T22:13:04-04:00 http://75.150.148.189/free-essay/Taming-of-the-Shrew-Illusion-vs_-Reality-25478.aspx In The Merchant of Venice, by William Shakespeare, there appears Shylock. He is a Jew, that much we are told in the cast list. But, as the play unfolds Shylock is seen to be the villian. He is protrayed as being cold, unbending, and evil. But is he? Is Shylock really the antagonist in this play or can he also be viewed as persecuted individual who resorts to revenge only after he has been pushed too far. To fully understand the character of Shylock we must first look at Elizabeathen attitudes towards Jews. In the sixteenth century Jews were rarely if ever seen in England. In the Middle Ages Jews had fled to England to escape persecution in France under the Normans. They were granted charter in England by Henry I in return for a percentage of their profits from trade and moneylending. It is here that the stereotype of Jews lending money was started. Because of the tariffs placed on them by the crown Jews took to charging high interest rates to secure profits for themselves. Here we see echos of Shylock with his usury. Finally the Jews were ordered out of England in 1254 by Edward I. They did not return to England until the later half of the seventeenth century. (Lippman 3-4) Jews were also viewed as devils by Elizabeathan audiences. Old stories portrayed them as "blood-thirsty murders" that poisoned wells and killed Christian children for their bizarre Passover ritu! als. (Stirling 2:1) These were the stereotypes which Shakespeare's audience held in regard to Jews. Shakespeare himself had never seen a Jew but he goes to great lengths to humanize Shylock even while perpetuating the stereotype. In Act 1:3, before Shylock ever says a word to Antonio, he lets the audience know in an aside that he hates Antonio. He hates him for having hindered him in business and for having humiliated him in public by spitting on him and calling him names such as "dog" and "cutthroat Jew". Shylock tells the audience he hopes to exact revenge on Antonio both for his own humiliation and for the persecution that the Jews have long suffered at the hands of the Christians. I hate him for he is a Christian;. . . If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him.He hates our sacred nation . . . Curséd be 2004-07-05T22:12:15-04:00 http://75.150.148.189/free-essay/The-Merchant-of-Venice-25477.aspx The name "tragic hero", which has become synonymous with Shakespearean dramas, was developed before Hamlet, Macbeth or any of Shakespeare’s well-known plays were written. The literary term was actually discovered around 330 BC by the ancient Greek philosopher Aristotle. Through his theory of catharsis, Aristotle debated that the great plays of Sophicles, Euripides, and other Greek playwrights contained tragic heroes similar to each other, which all portrayed four basic characteristics ("English Lit."). These qualities were a tragic flaw, or harmartia, they all were from a noble class, with very human personalities, and they all face their tragedy with dignity. It is not until the late 1500s that Shakespeare began to utilize Aristotle’s observations in the production of his many tragedies (Desjardens). Probably the most important characteristic of a Shakespearean tragic hero is that one must posses a tragic flaw, because without the flaw, there would never be a downfall. The ultimate flaw varies from one play to another, King Lear’s flaw is that of arrogance while Macbeth’s it one of ambition. Some characters may be guilty of harboring many flaws, like Othello. Among Othello’s wrongs are gullibility and stupidity. In either case, the character never realizes ones flaws until act five, however, by that time it is too late (Desjardens). While the tragic flaw is the key element in a tragedy, the tragic hero’s social status is also of high importance. All tragic heroes are from a very noble class. Whether the heroes are Thanes or Generals in the army, like Macbeth, Othello, and Antony, or from royalty, like King Lear, Hamlet, or Cleopatra, each eventually fall from grace. This characteristic was used mostly to help the common people identify with the wealthier upper class. If the ruling class, which was generally looked upon with favor and prestige, could sin much like the commoners did, then no one group of people were more superior (Desjardens). Though the tragic heroes were from the noble class, every person could identify with them because the heroes possessed very human qualities. Neither Macbeth, King Lear, Hamlet or Othello were overly good and heroic nor were they too sinister and nasty. This characteristic allowed the audience to feel pity for the character and to learn a lesson about excessive pride, greed, ambition or stupidity. The tragic hero mirrors everyone, positive traits and faults, to point a finger and emplore all to beware; if horrible events took place 2004-07-05T22:11:40-04:00 http://75.150.148.189/free-essay/Shakespeare-Tragic-Hero-25476.aspx Shakespeare’s definitions of Love and Lust When there are women and an omnipotent force to procreate there will be a number of resources that a man will use in order to attract the opposite sex. Often with the use of the notorious whistle/mating call, the perpetual use of lies about income, the stench of musk cologne, or the ever-popular use of the love poem, men strive to appeal to women with the intent to see his way to her heart. William Shakespeare, a man who, based on his works, was full of passion for the opposite sex – whether it had been honest love or perverse lust. Nonetheless, Shakespeare, like most men, wished to charm women. With this having been so, Shakespeare’s weapon of choice to be inwrought to a woman’s heart was the powerful love poem. He understood love and how to attain love and demonstrated this in his often praised sonnets. Writing about the joys and tragedies while also writing about the trials and tribulations of love was Shakespeare’s objective in select sonnets – Sonnet 116 and Sonnet 129. His views on what is love put into prose enables all that read his sonnets to interpret Shakespeare’s definitions of love and lust. Throughout his sonnets, Shakespeare discusses the conflicts that men have with time, such as time vs. the body and time vs. the mind. Although time withers the body and eventually the mind, Shakespeare writes that time has no effect, however, on love. Love prevails throughout time and is forever young when it is shared by two hearts that have become one. Love is a substance of the hearts united and calls for two individuals to commit to each other – commitment being marriage. Having committed one’s self through marriage both individuals now turn a blind eye to the other’s faults. To Shakespeare, this means that if one of the mates in the relationship cheats, the other should understand, forget, or forgive since adultery was the fault of one of the mate’s and love cannot see faults. This is best exemplified in Sonnet 116 when Shakespeare writes: Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: (1-4) Love is not only forgiving of faults but is also invincible in the eye of any storm. Whether it is hostility in the marriage or the death of 2004-07-05T22:11:15-04:00 http://75.150.148.189/free-essay/Shakespeare-s-Definition-of-Love-25475.aspx In 1564, a man was born by the name of William Shakespeare. He was born to a poor family, was given little education, and had no interaction with sophisticated society. Thirty-eight plays and over 150 sonnets are not attributed to this ignorant man. Those who believe that Shakespeare was the author have no definitive proof but instead point to Hamlet’s declaration: "The play’s the thing(Satchell 71)." The true author, however, lies hidden behind he name of Shakespeare. Edward de Vere the premier Earl of Oxford is not only considered a great poet in history, but he may also be the great playwright who concocted the sonnets and plays which are now attributed to William Shakespeare of Stratford, England. Edward de Vere was the Lord Great Chamberlain and the seventeenth Earl of Oxford. He was raised as a Royal Ward and from a very young age was educated in the sports and arts of nobility. Although disgraceful for a nobleman to waste time writing frivolous plays, Oxford as a young man wrote and staged the entertainment for the court. As an adult, he became engrossed in theatrical performances and frittered away his fortunes in support of several writers and actors (Friedman 13). During this time, De Vere also began writing several poems and plays. Much like Samuel Clemens, who wrote under the name of Mark Twain, Oxford adopted the pseudonym Shakespeare. Soon after plays appeared under the name of "Shakespeare," poems by de Vere ceased (Russell 5). Coincidently, the coat of arms of Lord Bulbeck, a third title of Edward de Vere, is a lion shaking a spear (Ogburn 10). De Vere was also known by the people as the "spear-shaker" because of excellence at the tilts and at jousting (Russell 5). Many believe this pen name was for protection. Many of the plays said to have been written by Shakespeare explicitly describe the corruption in court politics and contain "thinly veiled satires and parodies of politicians and courtiers." In addition, public theatres such as the Globe were laced with prostitutes, drunkards and criminals and because of the scoundrel audiences, playwrights were held in low esteem. Moreover, many scholars believe de Vere’s reasons for his pseudonym may be linked to the homoerotic threads in many of the Shakespearean sonnets and de Vere’s possible homosexual affair with his son-in-law. Using his identity would have been a dangerous game when such affairs were a high 2004-07-05T22:10:44-04:00 http://75.150.148.189/free-essay/William-Shakespeare-the-Playwright-25474.aspx Throughout Julius Caesar, Brutus's actions have very extensive ramifications, I wish to review his actions, and the motivating factors behind those actions. I intend to prove that Brutus had a strong and well grounded personae. He had good intentions; however, he made one fatal mistake and that was his downfall. He had many positive qualities. I wish to bring these to the light and delve into how they affected the plot. Brutus is a very sincere man. He truly believes that his role in Cassius's assassination plot is for the good of Rome and her citizens. This becomes very apparent when he says, "But for the general. He would be crown’d: How that might change his nature, there’s the question." (Act 2, Scene 1, Lines 12-14) This truly innocent way of thinking allows him to be persuaded by Cassius to go against Caesar. He is also an honest man. He refuses to take a bribe in lines 75-78 of Act 4, Scene 3. "By any indirection: I did send to you for gold to pay my legions, which you denied me: was that done like Cassius?" This is an honesty that gained him the respect of the people. Brutus was a naive man as well. Sincerity is often misconstrued as being naive; however, I will treat each as a separate characteristic. Brutus's naive spirit is mostly shown not in one single action, but in the overall willingness he has to believe that those around him are essentially good. "Only be patient till we have appeased the multitude, beside themselves with fear, and then we will deliver you the cause why I, that did love Caesar when I struck him, have thus proceeded." (Act 3, Scene 1, Lines 179-183); And also when he said: "So fare you well at once; for Brutus’ tongue hath almost ended his life’s history: night hangs upon mine eyes; my bones would rest." (Act 5, Scene 5, Lines 38-42) Brutus was also of noble birth. This isn't really a character trait, but it is one reason why he may have been in such a high ranking political position. "I will with patience hear, and find a time both meet to hear and answer such high things. Till then, my noble friend, chew upon this: Brutus had rather be a villager than to repute himself a son of Rome. (Act 1, Scene 2, Lines 169-173) Brutus is also a philosophical thinker. He 2004-07-05T21:52:20-04:00 http://75.150.148.189/free-essay/Julius-Ceaser-The-Importance-of-Brutus-25451.aspx All people have definite concepts of self. In different situations, one may feel short, tall, smart, slow, fast, talkative, reserved, etceteras. These self-concepts are usually very different than how others opinions of us. Depending on one's actions, words or even tone of voice, one may misrepresent oneself and be misinterpreted. One may be so arrogant or so humble that they prevent themselves from seeing themselves through others' eyes. In William Shakespeare's play Julius Caesar, two main characters, Julius Caesar and Marcus Brutus, present different personas- one being each characters actual self-characterizations, which we learn through their discussions with others, and another is how they are actually perceived in the eyes of others. Their inability to project their true motives in performing certain actions eventually brings about their tragic downfalls. Julius Caesar believed that people needed one strong ruler in order to have maximum production and proper function of a society. He believed that he possessed many, if not all, of the characteristics required of a great leader. He spoke to others in a way which he believed exhibited authority, told people why he should be the one to lead them, and thought that his own advice was best. His unwillingness to listen to others is received as arrogance. Though already warned by the soothsayer to "beware the ides of March," Caesar refuses to heed advice to stay home from Calpurnia, his wife, because he feels that she is trying to keep him from obtaining power and status. Calpurnia believes Caesar to be a prince and is convinced that some falling meteors are warnings of a prince's death. When she hears her husband boast that he is more dangerous than danger itself, she recognizes that this is simple arrogance, and tells him so, saying, "Alas, my lord/ Your wisdom is consumed in confidence (Act II, scene 2)." In response to her criticism and humble petitions, Caesar momentarily agrees to pacify her. However, when he changes his mind and decides to leave against her admonitions, she reluctantly, but obediently fetches Caesar's robe and he departs for the Senate, and his meeting with fate. Caesar's greatest character flaw, however, is thinking that he is far above others and somehow invincible. When he compares his own perseverance with that of the North Star, saying "But I am as constant as the northern star/Of whose true-fix'd and resting quality/there is no fellow in the firmament (Act III, 2004-07-05T21:51:54-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Self-Concepts-in-Julius-Caesar-25450.aspx Mark Antony, in the play The Tragedy of Julius Caesar, was a brave, intelligent, pleasure-loving, and cunning man. He was loyal to his friend, Caesar, whom he considered a true friend. He looked at life as a game in which he had a signified part to play, and played that part with excellent refinement and skill. Antony was devoted and preferred to be dependent upon Julius Caesar since he rather have enjoyed life than to claim the highest position in the government. He wanted the crown to be given to Caesar so that all conflicts could be avoided. However, this additional power contributed to the conspirator's motive to assassinate him. Antony was distraught with Caesar's death and sought revenge first by speaking to the crowd in his speech. He showed how clever and cunning he could be when he convinced the crowd at Caesar's funeral ceremony to side with him and not with the murderers. The people became excited and rowdy when he teased them about the will, waving it in the air and pretending as if he was not going to read it. Reverse psychology is used when he first pretends to respect the conspirators calling them honorable men, and then slowly proving that they are not. He speaks out against them because he wanted power for himself, and unlike Brutus, he is politically ambitious and so believes that if he can take control while the state is in turmoil, he will remain in power. He was alone in making this oration, yet he was confidant in himself and courageous. Rome began to collapse once Caesar was killed, and Antony was left without anyone to trust. He did not want to side with the conspirators whom he valued slightly. However, he felt his duty was to carry on Caesar's reign and clear his name. Therefore he joined the Second Triumvirate and became a great leader. Antony was looked down upon by all the conspirators except for Brutus. They wanted to kill Antony as well as Caesar because they feared that he would become as powerful as him and possibly a dictator. Brutus persuaded the others not to add to the assassination by saying, "And for Mark Antony, think not of him: for he can do no more than Caesar's arm when Caesar's head is off"(2.1.181-183). Brutus underestimated Antony and perceived him as a person who didn't always take life seriously, 2004-07-05T21:51:21-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Mark-Antony-25449.aspx In William Shakespeare's tragic play Julius Caesar, an under appreciated factor of flattery and persuasion plays an important role in the choices of the leaders. Cassius uses flattery with Brutus. Decius uses flattery with Caesar, and Antony uses flattery with Brutus. Cassius persuades and flatters Brutus. Cassius knows that Caesar would do harm to Rome if he became leader. Brutus would be a powerful force in the conspirator's movement to kill Caesar before Caesar becomes king and destroys Rome. Cassius really needs Brutus on his side, so in order to persuade Brutus, he uses lots of flattery. Whenever Cassius talks to Brutus he throws in "good Brutus", "gentle Brutus" or "dear Brutus" to make Brutus feel comfortable and confident. He also uses overlooked flattery when speaking to Brutus. Cassius realizes all his sweet talk has done well when he responds to Brutus with "I am glad/That my weak words have struck but thus much show of fire from Brutus" (I, ii, 175-177). By this, he means that his words have lit a flame, or triggered a though in "the great" Brutus's head. Decius uses flattery and persuasion when speaking to Brutus. Decius is an active member of the Conspirators so he is very motivated into getting Caesar to go to the Senate House. The first thing that Decius says when he walks into Caesar's house is "Caesar, all hail! Good morrow, worthy Caesar" (II, ii, 58). Decius also goes on and calls Caesar "most mighty". Decius is already on Caesar's good side. After catching up on Calphurnia's dream, he uses his quick wit to distort Calphurnia's foreshadowing dream by saying it is "mis-interpreted". He explains that the dream "Signifies that from (Caesar) Rome shall suck/Reviving blood, and that great men shall press/for tinctures, stains, relics, and cognizance" (II, ii, 87-89). Caesar seems to be amazed by this version of the interpretation; in fact, he likes this version a lot better mainly because Decius uses so much flattery. Antony deceives Brutus and the other conspirators with his keen wit and his sweet talk. After a brief minute of expressing sorrow, Antony goes right into saying "Friend am I with you all, and love you all" (III, I, 220). Antony is using flattery in order to get Brutus on his good side so he can speak in the order of Caesar's funeral. Antony asks Brutus if he can, Brutus agrees without hesitation. 2004-07-05T21:50:57-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Flattery-will-get-you-Everywhere-25448.aspx William Shakespeare's play, The Tragedy of Julius Caesar, is mainly based on the assassination of Julius Caesar. The character who was in charge of the assassination was, ironically, Marcus Brutus, a servant and close friend to Julius Caesar. But what would cause a person to kill a close friend? After examining Brutus' relationship to Caesar, his involvement in the conspiracy, and his importance to the plot, the truth can be revealed. Marcus Brutus, a servant and close friend to Caesar, has a strong relationship with Caesar but a stronger relationship with Rome and its people. Brutus is very close to Caesar. In Roman times, the only way for someone to get close to a person of high rank is if he/she is close to him/her. In many points of the play, Brutus was talking and next to Caesar. Brutus also loves Caesar but fears his power. In the early acts of the play, Brutus says to Cassius, "What means this shouting? I do fear the people do choose Caesar for their king...yet I love him well."(act 1, scene 2, ll.85-89), as he is speaking to Cassius. Brutus loves Caesar, but would not allow him to "climber-upward...He then unto the ladder turns his back..."(act 2, scene 1, ll.24,26). As the quote says, Brutus would not allow Caesar to rise to power and then turn his back onto the people of Rome. After the assassination of Julius Caesar, Brutus talks to Antony about Caesar's death. "Our hearts you see not; they are pitiful; and pity to the general wrong of Rome..."(act 3, scene 1, ll.185-186). Brutus says that Antony cannot see their(members of the conspiracy) hearts, which are full of pity. Again, this shows how Brutus loved Caesar but cared for the life of Rome and its people more. This is the only reason Brutus would conspire against Caesar. For Brutus says to himself, "I know no personal cause to spurn at him...How that might change his nature..."(act 2, scene1, ll. 1,13) Caesar's relationship with Brutus is also strong. Just allowing Brutus to speak to Caesar shows his respect for Brutus. Caesar feels that Brutus is noble to him and does the right thing regardless of personal danger. On the Ides of March, as Caesar was assassinated, Caesar's last line is: "Et tu, Brute?--Then fall, Caesar."(act 3, scene 1, l.85). This shows that Caesar would not die without Brutus' stab. Caesar realizes 2004-07-05T21:50:24-04:00 http://75.150.148.189/free-essay/Julius-Caesar-Brutus-Character-Analysis-25447.aspx A Midsummer Night’s Dream, is a romantic comedy written by William Shakespeare. It deals with the feelings of love and marriage as well as the laws and social order of the time. The story contains fairies and other mystical creatures who take it upon themselves to guide the mortals in the directions they think necessary. This leads to many hilarious situations and misfortunes for the humans. There are many characters in the play and, for the most part, each one is in love with one of the other characters. The play starts with Theseus, the Duke of Athens, proposing to Hippolyta, the queen of the Amazons. This is the only couple throughout the play who seem to never waver in their love for each other. These two seem to have a perfect love for each other, much like the love Hermia and Lysander have for each other before the fairies intervene. The other couple in the story that are of royal blood are Oberon, the king of the fairies, and Titania, the queen of the fairies. These two are having a lovers quarrel which has sent the seasons out of order and caused great disorder. Oberon is in love with Hoppolyta and Titania is in love with Theseus. Their lovers quarrels provide much of the comedy in the play. The other four characters caught in love triangles are Lysander and Hermia, who are in love with each other, Demetrius who loves Hermia, and Helena who loves Demetrius. Lysander and Hermia wish to marry each other but Hermia’s father, Egeus, will not allow it. Egeus wishes his daughter to marry Demetrius so he brings the matter to the attention of the king in hope that the law will be enforced. The law states that Hermia must marry whomever her father chooses or be put to death or live the rest of her life as a nun. She is given until the next full moon to decide. Lysander suggests to Hermia that they run away into the woods together. This is where the rest of the play takes place. Lysander and Hermia flee into the woods pursued by Demetrius who is being pursued by Helena. Once in the woods the lovers find themselves at the mercy of the fairies. The king of the fairies, Oberon, is planning to place a love potion on the queen of the fairies, Titania. He also plans to put the 2004-07-05T21:41:44-04:00 http://75.150.148.189/free-essay/A-Midsummer-Night’s-Dream-Loves-Misfortunes-25434.aspx The Battle Of The Sexes In Taming Of The Shrew Shakespeare’s play The Taming of the Shrew raises some controversial issues about the roles of spouses and wives, the place of women in society, the expectations of marriage and more. A main topic throughout the play is Petruchio’s “taming” of Katherina and her eventual submission. Petruchio can be looked at in one of two ways- as a “cruel, unfeeling bully” or a “man who brings Katherina self-knowledge and contentment”. The way in which Petruchio’s manner is viewed depends on the historical context. In the 16th century, Petruchio’s attitude toward Katherina was accepted and normal. This is because women were not seen as equal to men. In the 21st century, where women are equal to men, Petruchio’s method would not be tolerated. I will be using the historical context of the 21st century to contend that Petruchio was a “cruel, unfeeling bully”, because I believe that the attitude toward women in the 21st century is the correct one of the two. From the beginning, Petruchio does not see Kate as an opportunity to be happily married, but a chance to get rich and conquer her. When Hortensio tells Petruchio about Katherina, Petruchio says that it matters not how horrible she is, so long as she has money: “I come to wive it wealthily in Padua / If wealthily, then happily in Padua” (Act I; Scene 2; lines 72-73). Later, during his first meeting with Baptista, Petruchio is eager to settle financial matters with him, even before he meets Kate: “What dowry shall I have with her to wife” (Act II; Scene 1; lines 116) and “Let specialties be therefore drawn before us, / That convenants may be kept on either hand.” (Act II; Scene 1; lines 122-123). Petruchio has no respect for any reasons that Katherina might have for getting married, such as love. He therefore fits the bill of a “cruel, unfeeling bully” by seeing marriage as a business opportunity with no consideration of Katherina’s wishes. The way that Petruchio acts toward Katherina is also indicative of his insensitive nature. When he and Katherina first meet, instead of being friendly and cordial, Petruchio is already scheming to tame her by being indirect and annoying: “Say that she rail, why then I’ll tell her plain / She sings sweetly as a nightingale.” (Act II; Scene 1; lines 165-166) and “If she 2004-06-10T02:22:42-04:00 http://75.150.148.189/free-essay/Taming-of-the-Shrew-by-William-Shakespeare-25078.aspx In Shakespeare's comedy, "The Taming of the Shrew," one of the main ways that the theme is shown is by mistaken identity. The main theme of this play is that what a person is really like is more important than how they appear to be. This is shown by Petruchio's relationship with Katherine; the changing roles of Tranio, Lucentio, and Hortensio; and the true characters of Bianca and Katherine. All three of these situations help to enrich the theme. The first predicament that supports the theme is Petruchio's relationship with Katherine. When we first meet Petruchio, he is only after the money of Katherine, and accepts her harshness as simply a goal he must overcome. He is mistaken for a person who is only after money, not love at all. Yet when he meets Kate, he begins to fall for her. While he still argues and attempts to train her, it is for his own benefit. He wants her to be less harsh so she can fall in love with him. Petruchio ends up truly caring for and loving Kate, despite the front he puts up having his true identity revealed. As a result of this Katherine, whom we thought would never love anyone, at the end of the story is the only wife who comes when she is beckoned. The other wives only make up excuses. This shows how Kate has a mistaken identity becuase she appears rude and insolent. This situation is one of the ways Shakespeare uses mistaken identity to display theme. Another part of the theme is that when a person changes outfit's and roles, their personalities and attitudes stary the same. The first and most prominent role change is the one between Lucentio and Tranio. Lucentio, in order to marry Bianca, exchanges outfits with his servant Tranio in order to become a tutor for Bianca. Although Tranio appears to be a nobleman, he is really just a simple servant. His identity did not change despite the fact that his outfit did. In the same fashion, Lucentio becomes Cambio, the tutor. His true self is as a nobleman, but due to his love of Bianca, he tries to change himself. Just like Tranio, despite the change of outfit, Lucentio's real personality is not altered. Hencefoth came Hortensio, the least successful prenteder. He too becomes a tutor for Bianca, but is rejected by her. Before the changing 2004-06-08T13:12:42-04:00 http://75.150.148.189/free-essay/Themes-in-Taming-of-the-Shrew-25042.aspx In Shakespeare's "A Midsummer Night's Dream" the mortal teenage characters fall in love foolishly, and the character Bottom states, "O what fools these mortals be". They are foolish because they act like children. Although Lysander, Hermia, Demetrius, and Helena appear grown-up, when they are in love they act foolishly. The four teenage lovers are fools. Demetrius is a fool because he is unaware that his love changes through out the play. At the start of the play Demetrius does not love Helena. (II ii,line 188) Demetrius says, "I love thee not, therefore pursue me not." (II ii,line 194) "Hence, get thee gone, and follow me no more." In III ii, Demetrius after being juiced begins to love Helena. (III ii,line 169-173) Demetrius says, "Lysander, keep thy Hermia; I will none. If e'er I loved her, all that love is gone. My heart to her but as guest- wise sojourned, And now to Helen is it home returned, There to remain." This proves he is a fool, because he is not aware of his changing love for Helena. Helena is a fool because Demetrius does not love her but she still persists in chasing him. Demetrius shows no love for Helena. (II i,line 227-228) Demetrius says, "I'll run from thee, and hide me in the brakes, And leave thee to the mercy of wild beasts." (II i,line 199-201) "Do I entice you? Do I speak you fair? Or rather do I not in plainest truth Tell you I do not, nor I cannot love you?" Demetrius clearly illustrates to Helena that he has no interest, but Helena persists. (II i,line 202-204) Helena says, "And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you." (II i,line 220-222) "Your virtue is my privilege. For that It is not night when I do see your face, Therefore I think I am not in the night;" This proves that Helena is a fool because Demetrius does not love her, but she still persists. Lysander is a fool because he persuades Hermia to avoid death and run away with him. Hermia must marry Demetrius or she will be put to death. (I i,line 83-88) Theseus says, "Take time to pause, and, by the next new moon- The sealing-day betwixt my love and me, For everlasting bond fellowship- Upon that day 2004-06-08T13:11:33-04:00 http://75.150.148.189/free-essay/A-Midsummer-Night-s-Dream-25041.aspx William Shakespeare’s play, The Tragedy of Julius Caesar, is mainly based on the assassination of Julius Caesar. The character who was in charge of the assassination was, ironically, Marcus Brutus, a servant and close friend to Julius Caesar. But what would cause a person to kill a close friend? After examining Brutus’ relationship to Caesar, his involvement in the conspiracy, and his importance to the plot, the truth can be revealed. Marcus Brutus, a servant and close friend to Caesar, has a strong relationship with Caesar but a stronger relationship with Rome and its people. Brutus is very close to Caesar. In Roman times, the only way for someone to get close to a person of high rank is if he/she is close to him/her. In many points of the play, Brutus was talking and next to Caesar. Brutus also loves Caesar but fears his power. In the early acts of the play, Brutus says to Cassius, "What means this shouting? I do fear the people do choose Caesar for their king…yet I love him well."(act 1, scene 2, ll.85-89), as he is speaking to Cassius. Brutus loves Caesar, but would not allow him to "climber-upward…He then unto the ladder turns his back…"(act 2, scene 1, ll.24,26). As the quote says, Brutus would not allow Caesar to rise to power and then turn his back onto the people of Rome. After the assassination of Julius Caesar, Brutus talks to Antony about Caesar’s death. "Our hearts you see not; they are pitiful; and pity to the general wrong of Rome…"(act 3, scene 1, ll.185-186). Brutus says that Antony cannot see their(members of the conspiracy) hearts, which are full of pity. Again, this shows how Brutus loved Caesar but cared for the life of Rome and its people more. This is the only reason Brutus would conspire against Caesar. For Brutus says to himself, "I know no personal cause to spurn at him…How that might change his nature…"(act 2, scene1, ll. 1,13) Caesar’s relationship with Brutus is also strong. Just allowing Brutus to speak to Caesar shows his respect for Brutus. Caesar feels that Brutus is noble to him and does the right thing regardless of personal danger. On the Ides of March, as Caesar was assassinated, Caesar’s last line is: "Et tu, Brute?--Then fall, Caesar."(act 3, scene 1, l.85). This shows that Caesar would not die without Brutus’ stab. Caesar realizes 2004-06-08T13:10:45-04:00 http://75.150.148.189/free-essay/Marcus-Brutus-Character-Analysis-25040.aspx In Shakespeare's Julius Caesar, Decius Brutus and Mark Antony, both Roman Senators, eulogize Julius Caesar, each using a different technique and approach. Brutus, in a somewhat arrogant, to the point, eulogy, attempts to sway the people. He justifies conspiring against Caesar by stating that Caesar's ambition would have hurt Rome. However, in Antony's eulogy, he focuses on Caesar's positive traits, and cunningly disproves Brutus' justification for killing Caesar. The fickle Romans waver between leaders, responding emotionally, rather than intellectually, to the orators. Brutus seeks to explain why he conspired against Caesar. He begins his speech with "Romans, countrymen ...", appealing to their consciousness as citizens of Rome, who, he later says, will benefit as freeman with Caesar's death. This shows that Brutus knows how to lure the crowd, appealing to their better judgement as Romans. He declares that he is an honorable man, and tells them that he will let them judge the validity of his claims. That is, he will allow the truth to speak for itself. This encourages the crowd to believe him, as an honorable man. He says that he wants them to know the facts; "Censure me in your wisdom, and awake your senses that you may the better judge." Sharing information with the people is flattering and it almost guarantees acceptance. He gets their sympathy by saying that he loved Caesar, daring the people to find anyone who loved Caesar more. Brutus declares that he never wronged Caesar, that he cried for Caesar's love, was happy for his greatness, honored him for his courage, but had to kill him because of Caesar's ambition. He says that the reason for killing Caesar was his great love for Rome. He justifies his actions by saying that he loved Caesar but, "Not that I loved Caesar less, but that I loved Rome more." He then asks rhetorically if the people would want to live their lives as slaves under Caesar's rule or would they prefer to live as freemen with Caesar dead. To anyone insulted by his speech he wonders if, as Romans who love their freedom, they could be offended or reject what he, Brutus, says. He poses the question, "Who is here so base that would be a bondman?" He stresses the point, repeating the line, "If any, speak, for him have I offended." "I pause for a reply.", allows them to respond to his rhetorical 2004-06-08T13:09:59-04:00 http://75.150.148.189/free-essay/Eulogies-in-Julius-Caesar-25039.aspx