In the play A Midsummer Nights Dream, William Shakespeare uses literary elements and devices to portray his characters and to convey humor. He uses many techniques in his stories such as malapropism with the character Bottom. He uses puns to add humor with the actors, and rhetorical questions which the lovers use constantly. Malapropism is the mistaken substitution of one word for another word that sounds similar. The character Bottom uses many malapropisms because he thinks he is showing off his intelligence when really he is showing his ignorance. Bottom says, "…one must come in with a bush of thorns and a lantern and say he comes to disfigure the person of moonshine". He meant to say figure, instead of disfigure, which adds some comedy by showing his dumbness. This use of malapropism works to add some slight comedy to the story while developing characterization. Shakespeare also uses puns to add comedy to the story and to keep the reader's attention. A pun is an intentional play on words based on the similarity of sounds between two words with different meanings. One pun that Shakespeare uses is when Bottom is turned into an ass. This is a pun because Bottom normally acted like an ass, so he being an ass has a double meaning. Most of Shakespeare's puns in plays were used to amuse the uneducated masses of his time. Shakespeare's use of rhetorical questions adds to the effect of what a character is saying. A rhetorical question is when a character asks a question that does not require a reply. The answer is often so obvious that the question is usually asked for effect. Hermia asks a rhetorical question when she asks, "But why unkindly didst thou leave me so?" This requires no answer because inside she already knows the answer. This...
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The main themes of "As You Like It" are the pastoral ideal and the ideal of romantic love. Forest of Aden is the primary setting where these themes develop. Nature serves as a refuge from society where we can find solutions to injustice and unhappiness. This play is a comedy and thus has a happy ending but it is not a fairy tail. Shakespeare highlights the difference between reality and illusion. Rosalind embodies the sensibility, the humor and the kind of love that leads to a happy, harmonious living. She brings the plot to a resolution when four contrasting romances end in marriage. The focus of the play is her romance with Orlando. Rosalind wants to find a lover without losing her sense of self in the process. Rosalind answers the questions about love, which arise during the play. She is a lovesick maiden and yet she remains an intelligent, witty, and strong character. Rosalind is also a good judge of character. She sees through Jaque's seemingly deep thoughts and recognizes the wisdom of clown Touchstone. Furthermore, she cleverly uses her disguise to get to know Orlando and educate him about love. The meeting of Orlando and Rosalind is the most important event in Act 1 of the play; it is love at first sight. Celia and her cousin talk about falling in love just before the wrestling match. From henceforth I will, coz, and devise sports. Let me see, what think you of falling in love? Her words indicate that Rosalind is ready to face the danger of falling in love. She infers that her father would approve of Orlando because her father approved of his father Sir Rowland. Their meeting reveals a vulnerable side of the Rosalind as she gives him a chain, says, "Gentleman, wear this for me"...
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“I am a man more sinned against than sinning” III.2.59-60To what extent to you agree with Lear's statement above? Discuss how Shakespeare presents Lear's role in the play and explore his journey from tyrant to humility and death. The Tragedy of King Lear is a moralistic play that follows the downfall of a King that occurs as a result of human misconception and blindness to the truth. "I am a man more sinned against than sinning" is a direct quote from Lear at the pinnacle of the play- and Lear's lowest point. It is also notably central to all of Shakespeare's major themes present in the play. Lear's Character is so that as the play progresses so too does the level of sympathy generally felt towards the king. Different stages of the play show Lear in many different states of mind adding to the portrayal of Lear's complex characterisation and our sympathetic judgment. Numerous questions are raised as to the origin of the King's downfall and just how much those around him contributed towards his blindness, irrationality, and insanity. It is questionable just how far his daughters Gonerill and Regan are to blame, and whether or not more good than bad came as a result of the episode. When the play opens Lear is a tyrant, a man with great authority and power, as well as great foolishness. As an audience, we see him giving away his Kingdom, dividing it into three and leaving himself with "nothing." "We have divided in three our kingdom… while we unburdened crawl toward death" Lear shows himself to be a very proud man, disowning his most loved and caring daughter Cordelia for not participating in his unjust and egotistical manner of the sharing of his kingdom, "I love your majesty according to my bond, no more nor less" followed by Kent...
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"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...
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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...
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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...
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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...
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Analyis os 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...
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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...
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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...
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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...
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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...
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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...
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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...
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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,...
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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...
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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 Olivias 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 Olivias...
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Renaissance and Restoration Literature A critical analysis of a passage of Shakespeare's The Tempest 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:...
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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...
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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...
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