This miserable situation is making him feel disconnected from the world, and he cannot handle all the strong feelings he has: “O teach me how I should forget to think.” Act 1 Scene 1 Line 225. In this case, Romeo is feeling lustful towards Rosaline, which later on is contrasted with the pure love he feels for Juliet. He shows his stubbornness whilst failing to listen to Benvolio who says that Romeo should see other girls as there are many more beautiful. However Romeo simply replies: “Examine other beauties…thou canst no teach me to forget.” Act 1 Scene 1 Lines 227-236. He is denying the idea completely, thinking that it would just make him realise how beautiful Rosaline really is.
Pearl symbolizes evil in the story by representing God's punishment of Hester's sin, symbolizing the guilt and the scarlet letter that controls her behavior and defying Puritan laws by being cheerful and associating with nature. Pearl is a greater punishment then Hester’s “A”. First, Pearl represents God's punishment by her mocking and nagging of Hester. This is shown throughout the novel she sometimes seemed to her mother as almost a witch baby (Hawthorne 88).Second, Pearl is a baffling mixture of strong emotions with a fierce temper and a capacity for evil; with Pearl, Hester's life became one of constant nagging, and no joy. This is proven when Hester remarks to herself, "Oh Father in heaven - if thou art still my father - what is this being which I have brought into the world" (Hawthorne 89).Thirdly, Pearl represents the sins of both Hester and Dimmesdale.
“Slept soundly through the lonesome dark, and whistled early with the lark.” It describes the place where he was, to be unbearable and a terrible condition for a boy to be in. The poet wants the mood to be this way because he is trying to portray the negativity of war to the audience. The tone of this poem near the end is in a shameful tone. “You smug-faced crowds with kindling eye who cheer when soldier lads march by,” Sassoon is ashamed of the crowd who are shallow and are only cheering for the young soldiers to go to war and know that not all will return, they do not understand the hardship that the young soldiers have to go through and he is ashamed
Medea, the protagonist of Robinson Jeffers' play of the same name, is a vengeful termagant, stricken with grief and wanting nothing but to vindicate Jason's deeds. To her credit, though, she is quite wily, and in possession of one of the most impressive acumen ever given to a character of her type. So deep is her animosity towards Jason that she goes to such lengths as parricide (killing her children, who are merely "pawns of her agony") to extract revenge on her former husband. She does not stop there, though. She despoils him not only of two children, but also of a wife, a father-in-law, and a kingdom.
“Which of you shall we say doth love us most” Act 1, Scene 1, Line 52. Through this, both King Lear’s and Gloucester’s rage and rashness can be seen, resulting in them both loosing sight of what is important. Despite this, their weak characteristics have a small influence on their tragedy and suffering. After King Lear bestows all his possessions to his daughters, rather than being grateful, Goneril and Regan’s lust for power causes them to turn on their father. In Act 2, Scene 4, Goneril and Regan diminish his retinue, disregard his authority and Goneril instructs her servants to treat King Lear with the utmost disrespect.
and is dragged away Malcom: We are not safe and must flee the court Donalbain: I will flee to Ireland and you to England! Macbeth: Us lords must come together, and talk about this day. Act Two, Scene Four Ross and old man walking around Ross: So many strange things have been going on Old man: Yes they are, from owls killing falcons to Duncan's horses acting odd. Macduff finds them Macduff: Macbeth has now been made king, as told by the Lords. He comes to Scorn for his ceremony, and the conclusion has been made that someone must have paid the chamberlains.
The full conflict of which he feels and keeps concealed within himself is not explained. Some insight into Hamlet’s true feelings are revealed however, through his soliloquies and asides. Although Hamlet mourns his father’s death, we see that the source of his depression lies in his mother’s hasty marriage. This has turned his world into “... an unweeded garden/ That grows to seed; things rank and gross in nature/ Possess it, merely” (I.ii.135-137). While he accumulates more and more evidence of Claudius’ obvious guilt, he constantly returns to the theme of his mother’s remarriage, a source of pain equally as unbearable as the circumstances of his father’s death.
“… How I wish I might see him and his bride in utter ruin, house and all, for the wrongs they dare inflict on me who never did them harm!” (55) Medea resolves to avenge her self and make her husband Jason suffer more then she has in order to punish him. While Medea speaks to the Chorus of the role of women in their society and their great disadvantages she is seen as a heroine willing to avenge the wrongs done to women, which is a rarity during the given time period “Of all creatures that have life and reason we women are the most miserable of specimens! In the first place, at great expense we must buy a husband, taking a master to play the tyrant with our bodies…” (56) Medea is undoubtedly a feminist which emphasizes her strong and independent character. Her tendency to violence and ruthlessness however is evident at the start of the play when the nurse is prompted to predict that Medea may do harm to Jason’s new bride out of jealousy and harm her children because they remind her of Jason “I’ve already seen her glaring at them like a bull, as if she wanted to do something awful. I’m sure of one thing, that anger of hers won’t die down until someone’s felt the force of her thunderbolt.
John’s defective relationship with his father caused his distorted perception of love, which provoked John to use magic and self-deception to subconsciously ameliorate his relationship with his father and conceal his unhappiness. On the surface, John’s Father was what some believed to be a “terrific man”, a desired father from John’s friends; however, John did not satisfy the strict credentials of a son that his father desired. His father would belittle his inherent qualities with slanderous comments like “jiggling John” and “blubby little pansy”. John fell into a world of unhappiness and used methods of magic and deception to create a “fantasy of utopian reality”. John used mirrors and illusion to gain “sovereignty over the world” as “in the mirror, everything was possible, even happiness”.
This paper delves into Nietzsche’s disappointment with Wagner, and how his religious views diverged from his. Nietzsche’s first disappointment with Wagner stems from Wagner’s unhealthy music and base audience (Darby 60). He states that Wagner’s music makes him sick as it is unhealthy. It causes him to stop breathing with ease, with his feet seeking to go against the dance and music’s spirit with delight. He goes on to contend that there is a disturbed quality about every other of his body parts.