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...
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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...
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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...
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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...
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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...
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"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...
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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,...
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Explore and compare the ways that Shakespeare presents prince Hal and Hotspur in this play? 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 better brook the loss of brittle life Than those proud titles thou hast won of me They wound me thoughts worse than a sword my flesh" Coinciding with Hotspur's downfall comes the redemption of Prince Hal who in Act 5 Scene 4 Lines 61-62 states; "Why then I see A very important rebel of that name" Here Prince Hal shows that his character is maturing; he is...
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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...
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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,...
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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...
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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)....
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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...
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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...
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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,...
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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...
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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...
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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...
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"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...
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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?"...
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