Duncan also extends this characterization of Macbeth’s purity and nobleness when he equates the nobleness of man to the stars, “signs of nobleness, like stars, shall shine / On all deservers” (1.4.41-42). Again, this reference to light becomes synonymous to character both in terms of the desirable qualities in a man but also to Macbeth himself. Moreover, the perceived flawlessness of one’s image is subject to change. As Macbeth is highly regarded by others, “it is clear that Shakespeare wishes to convey to the reader that the light too can suffer period of darkness
God! How weary, stale, flat, and unprofitable, Seem to me all the uses of this world! This is the first time that the reader sees Hamlet’s inner turmoil as he considers committing suicide over the death of his father but decides he cannot, for the consequence would be hell. It is important to note that purgatory and hell are referenced numerous times throughout the play as a consequence for giving into selfish thoughts or actions. In this particular instance however, this soliloquy also lends to the idea that Hamlet is insane due to the passing of his father.
Marlowe’s Dr. Faustus encompasses elements of the morality play so popular in the Elizabethan Era; however, its underlying Gothic themes are undoubtedly present in throughout the plot. This is especially true to Act 3, where audiences can note the presence of several key gothic elements such as the sublime and Faustus’ corruption or religious practices and sanctuaries. Firstly, Marlowe’s use of the sublime throughout Act 3 strengthens the Gothic genre of the play as a whole. In Act 1, the chorus uses the sublime to its advantage to allude to the power Faustus craves when he entails what he wants to perform: “Had I as many souls as there be stars/ I’d give them all for Mephistopheles… make a bridge through the moving air/ to pass the ocean with a band of men.” At this point, Faustus’ speech captures the triviality of his desires and his focus on the material goods, which suggests that Faustus still fails to recognise the importance of the human soul and the comparative lack of importance of power in the human world. Building upon this in Act 3, the Chorus notes that Faustus has gained the power he so craved in Act 1 by again applying the sublime to emphasise this: “Did mount himself to scale Olympus’ top/ Being seated in a chariot burning bright...” Faustus’ almost supernatural power here is reiterated by the sublime imagery of him elevated in the sky at the top of Mount Olympus, a place that accommodated the Gods of Greek mythology.
English – How does Shakespeare explore ideas in Macbeth? Macbeth is and will forever remain Shakespeare’s most famous and celebrated tragedy. The play is much deeper than just a tragedy however, with Shakespeare subtly exploring several ideas and themes. His work provides prime examples of many structural and language techniques, including imagery, contrast, dialogue and symbolism. There were numerous ideas explored in the play, including those of ambition and power & authority.
Setting is achieved through the use of stage directions, characters words and their actions. For example the opening stage direction of ‘Macbeth’ is “thunder and lightning”. This sets a mysterious mood for the audience and also shows that evil things will happen throughout the play, this meets the expectations of the contemporary audience, as Shakespeare intended. On the other hand, Dickens’ ‘Oliver Twist’ is a highly structured episode of prose. Physical setting is achieved through detailed and interesting language choices, describing both the characters and time period.
Andrew Davies purposely used that technique to mirror Shakespeare’s thematic technique to create similar effect. I also noticed that the positioning of the character is quite interesting, in every conversation between Jago and Othello, Jago is always the one in higher position. This aims to symbolise Jago’s power, control and manipulation over Othello. This also gives an imagery of Jago being the puppet master who controls everything behind the scene. Shakespeare’s Othello is a tragedy so it is most crucial that the adaptation keeps the important aspects which make the play what it is.
The above blank verse is an insightful soliloquy of Hamlet displaying struggle and disillusionment. Explain how Shakespeare Hamlet continues to engage audiences through it dramatic treatment of soliloquies and asides. In the light of your critical study, does this statement resonate with you own perspective and voice in the ‘tone’ of Hamlet. In your response, make detailed references to the play. William Shakespeare’s Hamlet (1599-1601) has successfully continued to engage audiences through its dramatic treatments of soliloquies and asides.
Macbeth Discuss the role of imagery in the tragedy Macbeth. How important is imagery to the play and in what ways is it depicted? Imagery is an essential technique in the evolving of the plot and characters in Macbeth. The importance of imagery to Macbeth is extremely valuable, as the technique is employed strongly throughout the play by Shakespeare. Through imagery, Shakespeare is also able to reveal Macbeth’s true character, most dominantly through clothing imagery, light and darkness imagery, and blood imagery.
he puts on a mask of madness to mislead the world. In the Third Soliloquy Hamlet appears more determined. According to certain critics this soliloquy has a great importance because it reveals Hamlet’s rational mind, as he puts Claudius to test by enacting a play. The Fourth soliloquy is the most famous and essential, And is considered as a pioneer in English literature. Here Hamlet enters with a dilemma: “To be or not to be”.
Language in Shakespeare's Tragedy The presentation of language in King Lear compliments Aristotle theory on the purpose of stylistic elements of language in a Shakespearean tragedy. In essence, these function in attaining a deeper insight in the action, feelings and motives of the characters. In the play, Shakespeare’s use of diction is crucial in creating a timeless dramatic world that has its own space, time, history and mythological background according to one critic. This world is a combination of both ancient Britain as well as the seventeenth century. This observation can be confirmed as factual as Shakespeare’s choice of words and sentence construction differ from the ordinary language.