I will roar that I will make the Duke say 'Let him roar again; let him roar again'. From the quotes above we see Bottom's readyness to take on anything and play every part in the play because he believes in his 'great' acting skills. Even though he messes up his lines — 'Thisbe, the flowers of odious savours sweet' (this quote also makes him look foolish because he can't even pronounce simple word right). Instead of odious Bottom should say odours. This doesn't make Bottom a good actor, even though Bottom continually acts out the parts of the others, thinking he can act out every scene solo.
‘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.
I'd say he is hero, the examples you have of why he isn't are perfectly valid, and definitely include them in the essay, but I don't think they dismiss his heroism. He broke at the end and loved Big Brother but this was due to O'Brien's torture and mind control, he always knew this would be the outcome from his diary entries, conversations with Julia and his observations of Jones, Aaronsen and Rutherford at the Chestnut Tree Cafe. Breaking his only promise to Julia, not to betray her, was unavoidable, see his rantings after his visit to room 101, and the brief encounter with Julia when he is released, she betrayed him too, everyone betrays, this is the purpose of room 101, to remove anything you love more than the party and replace it/them with Big Brother. He sneaks around instead of engaging in open revolt because this is the only way any dissent and subversion can take place, the reactions of people during the ten minutes hate, telescreens, hidden microphones, a militarised society and scared/brainwashed spying neighbours giving you up at the first opportunity to save themselves make open revolt instantly futile rather than eventually futile, he took this approach not out of cowardice because it had the potential to subvert the cause of the party more effectively and because it was the only way. His rebellion does further his own desires, but his primary goal is to undermine the goverment, at first he is revolted by Julia, his initial act of sleeping with her was done not out of sexual desire, but out of a desire to rebel against and weaken the government, in his and Julia's opinion doing something for yourself and only yourself WAS the act of rebellion, it was central in their purpose to revolt as it went against the only reason for the party's existance, control and power (see Winston and Julia's conversations in the flat, and O'Brien's explanation of
When Zaroff smiled, he bore red lips and "pointed" teeth that often included a long, perfumed cigarette. The audience can assume that Zaroff and Rainsford were about the same size, since Zaroff provided him with clothing ("my clothes" Zaroff says) that proved to be a satisfactory fit. Being the antagonist, General Zaroff represents exquisite, intelligent, and savage traits throughout the entire development of the story. Dreading for many difficult challenges in his hunts, Zaroff will never stop until he meets his match. Zaroff, intelligent, but likewise generous, uses his attractive personality to lure ship-wreakers into playing a game of survival.
This jealousy causes conflicts. Phineas assumes that everyone thinks like he does, and often acts selfishly, insisting that he and Gene do whatever he wants. His carefree, self-centered attitude adds to Gene’s resentment toward Phineas. Phineas, only aware of himself and seeing only the good in others, never seems to pick up on Gene’s inner uproar. Phineas is an influential, charming figure, and a genuine good guy.
The sheer number of insults and implications made by the author coupled with a healthy sprinkling of aristocratic inside jokes would indicate that he essentially wrote this book for himself and other like-minded intellectuals of the enlightenment that disapproved of the status quo or could at least appreciate his cheeky sense of humor. I found the book very enjoyable and caught myself laughing out loud many times at the boldness of Voltaire’s slickly woven asides. He spent so much time attacking other people and their ideas though, I began to wonder if he would ever express his own ideas. Amid all of his negative commentary, I think it
I believe she is still far behind in the development of wanting someone who is at utmost mature person. Throughout the story, when Algy and Cecily first meet, she does not take into account as to why Uncle Jack had never invited over his “brother” Ernest. Well, Algy, trying only to see Cecily, pretends to be “brother Ernest” and tries to trick poor Cecily into thinking that “brother John’s coldness to him is peculiarly painful” (Wilde 48). This, however, lures Cecily into pitying Algy. Now this is where she finds herself a “kept-man”, which is Algy.
His jealously of Finny’s trait increased throughout the novel because Finny continued to smooth-talk to get out of trouble. Another thing that Gene was jealous of was Phineas’ tendency to be daring. It was Finny’s idea to jump off the tree. “No one but Phineas could think up such a crazy idea. He of course saw nothing the slightest bit intimidating about it.” These thoughts on page 6 revealed that Phineas was the most daring of their class at Devon.
'The Fool is more important to the play than he may at first seem.' By considering the dramatic presentation of the Fool, evaluate this view. The Fool is more than just a jester who is present to provide some comic relief in the tragedy of King Lear; like many of Shakespeare’s fools, he is shown as a highly intelligent character who the audience likes not just for his entertainment, but his insightfulness. Therefore, he is central both to the plot, as he criticises and advises Lear, potentially setting his later clarity into the motion, and to the audience’s understanding of the characters in the play. The first impression most have of the Fool is that his presence serves as form of comic relief, in order to set a lighter tone to the play; however, because of this, his death is crucial to the bleak ending of the play.
Idealized Love “When we fall in love, we believe our partner is irreplaceable. We have found the one who is perfect, just right for us. The act of falling in love, in a sense, means that we reject the notion that individuals are interchangeable” (Gianotti). In F. Scott Fitzgerald’s novel, The Great Gatsby, idealized love strongly motivates the key characters Jay Gatsby and Daisy Buchanan. While their journey together begins as a brief fling, the two are soon engrossed in a lifelong relationship filled with undying affection and enduring regrets.