The unifying function of the paradox is sustained by Shakespeare on different levels in the play, through techniques such as juxtaposition and irony. At first reading, the witches seem to insinuate that what appears good is evil and what appears evil can be good, implying that noble values of goodness and beauty are reversed in the confused atmosphere (“fog and filthy air”). The really frightening word is “is”. According to the three witches what is fair – good, beautiful, right – is foul – ugly, shameful, wicked. The two things are identical.
Harrison Friday Mr. Lamb 1/25/09 English 11 Honors Hamlet, in regards to the consistency of the character Hamlet is not nessicaily a flawed one but just an overly complicated one. There are so many drives and emotions pushing him in different direction that he eventually becomes misunderstood. Luckily with a large amount of thinking on the perplexing motives of Hamlet, one can certainly figure out that Hamlet character is a constant one, changing only in small and necessary ways. Hamlet, in most respects is just a product of his environment, contrary to the popular belief of Hamlet being a product of a poor character development. According to many writers and scholars Hamlet changes from a slightly melancholy character into a gloomy depressed character.
‘Comedy involves men of middling estate; its perils are small scale, its outcomes peaceful’. To what extent do you agree with this definition of comedy in relation to Much Ado about Nothing*? Shakespeare’s Much Ado about Nothing is one of the most popular comedies in history, selling out Shakespearean theatres until their closure in 1642. The comedy is thought to be written in 1598 and is often described as a ‘problem play’ meaning it shares tendencies with that of a tragedy. Of course MAAN follows Shakespeare’s traditional comedy structure but modern critics have their own agenda that a comedy, being such a complex genre, should conform to.
Aristotle in ‘Poetics’ defined comedy as “an imitation of inferior people-not, however, with respect to every kind of defect; the laughable species of what is disgraceful. The laughable is an error of disgrace that does not involve pain or destruction. For example a comic mask is ugly and distorted but does not involve pain.” (Stott, Andrew McConnell. Comedy. New York: Routledge, 2005.
How satisfying did you find the ending of Pygmalion and Much Ado about Nothing? Pygmalion is a Victorian Romance in five acts, whereas Much Ado is a Shakespearean comedy. As one of this genre’s characteristics is the happy ending that ties up the plot, the Pygmalion doesn’t seem to follow it. However, the use of language in Much Ado to create humor throughout the whole play, as near tragic events are never too far for comedy, Shakespeare succeeds in his purpose and offers clearly a more satisfying ending than Shaw. In Much Ado, it could be argued that the ending is satisfying as a comedy.
Commonly regarded as Euripides’ most controversial work, Medea is a powerful story of how one’s impassioned love can turn into furious hared. As a tragedy, it is completely unlike the Aristotelian work, yet it has a nerve jarring impact due to the unforseen climax. Throughout the play, Euripides has positioned minor characters to subsidize the major characters. The clever work of Euripides also suggests that the less significant characters are used in the play to develop the plot of the play and also to reveal and recall the events that could not have been shown. As a result of this, secondary character present dramatic importance throughout the play.
is laid upon your hate That heaven finds means to kills yours joys with love” (V, iii, 291-293) “For there never was a story of more woe, then this of Juliet and her Romeo” (V, iii, 309-310) Tragedy- Reinforced by the death of Mercutio as it is seen by Levin as quite an ironic end, as he has been the satirist- “represents the play moving from Romantic comedy to Romantic tragedy.” Comparing Comedy & Tragedy- Tragedy tends to isolate where comedy bring together, to reveal the uniqueness of individuals rather than what they have in common with others. Examples have been shown with the progression of Juliet whom begun in tragic settings as an only child mother “But one, poor one, one poor, and loving child” (IV, v. 46) whilst Romeo friar reflects on then as “two in one” (II.iv.37) yet again when taking the potion “my dismal scene I needs must act alone.” (IV.iii. 19) reflected in the setting of each of them dying
This corresponds to the tragedy of Othello, the noble hero who falls from grace. The villain Napoleon is left somewhat unknown as we don’t necessarily find out what happens to him, such as the similarity to Iago last words “I will never speak for this day forth”. Contrasting to the unclear resolution of the play Othello, Orwell did mention at the end that the farm was now better off than it had ever been, leaving the conclusions somewhat peaceful and content for the viewers. Through the play Othello by Shakespeare and the novel Animal farm by Orwell, both composers have successfully achieve their corresponding purpose in relevant to the construction of the villain archetype. The novel and play have explored the recurring motifs of our human condition that causes us to reflect on menacing thoughts such as revenge, greed and
He writes a pastoral comedy, which oversteps the boundaries of many social rules, with fantastical places and magical transformations. On the outside, it seems like a play of all fun and games, written to give the audience a laugh or two. But, delve
William Shakespeare's "Much Ado About Nothing" and "Taming of the Shrew" are two of his best-known comedic plays. As with most of his comedies, they both feature a wedding, but there are many other similarities in themes and motifs of these plays, as well. The Taming of the Shrew is an early comedy, loosely termed “romantic” along with Much Ado About Nothing and A Midsummer Night's Dream. Such plays are lighthearted and often slapstick in style, filled with disguises and deception, and end happily. This is in sharp contrast to the later comedies that are much darker and filled with cynicism and a sometimes bitter irony.