Well that’s an interesting perspective, however, I tend to agree with the class, as Hamlet’s ‘O what a rogue and peasant slave am I’ soliloquy raises existential questions centralizing his character and the source of his hamartia as the main focus of the play. This is evident through his rather controversial description of himself as ‘a rogue and peasant slave’ to describe his hierarchal status, but also the devastating consequences of his hamartia, ultimately delving into complexities resonating with us today. Student 1: Yes, I can see where you’re approaching from, but the Christian values they speak of, were attained even by the ‘villainous’ characters, such as Claudius, ironically appealing to the heavens to repent his sins, disregarding his falsified intents. This introduces the pervading themes of ambition and morality, essential to Hamlet’s textual integrity Harvey: Well, I suppose the thematic concerns add to the duality between psychoanalysis complexity and Shakespeare’s portrayal of the revenge tragedy. Yet I’m not convinced he represents society.
A detailed analysis of the dramatic contribution that Friar Lawrence makes to William Shakespeare’s tragic love story ‘Romeo and Juliet’. Ben Jonson once claimed that William Shakespeare (1564-1616) “wanted art” (lacked skill) and this viewpoint can be instantly refuted by the manner in which Shakespeare handles the role of Friar Lawrence in ‘Romeo and Juliet’. The conventional love play, featuring characters who are supposedly doomed from the start and whose “outcome is destined to be lose-lose” (Pam Marshall), can be viewed as a simple story with an outcome which will move the Elizabethan audience. However, Shakespeare can be seen to challenge the ideas of fate, belief through the character of Friar Lawrence and the themes of light and darkness. In this essay, I will look at the role of Friar Lawrence in Romeo and Juliet – in particular, the eventual tragic deaths of the “star-crossed” lovers – and the manner in which Shakespeare uses Friar Lawrence as a means to challenge ideas of fate and light/darkness through his use of language, imagery and metaphor.
ABSTRACT A tragedy cannot be completed without a tragic hero and Aristotle states that a tragic should be a person who is born in a noble family, like Oedipus Rexs. Some critics like Henrietta L.Palmer and Heather A.Fowler has portrayed Cordelia as the tragic hero of the play just because of her truthfulness and sacrifices. However, some other critics like Dr.Ronnie Bie and A.C. Bredely has their affirm opinions that King Lear is the real tragic hero of the play. Although, Cordelia is one of the main protagonists of the play yet her character does not meet the Aristotelian principles of tragic hero. She is very sweet and kind; but according to Aristotle, a person who is an embodiment of goodness only, cannot arise pity and fear in the audience.
In the story one may think of Minister Hooper as a hero because he is able to admit he has sinned. The veil was supposed to cause people to view Mr. Hooper as an idol. However, the veil turns Mr. Hooper into a symbol of evil causing him to further treasure in sin. The story begins with the Gothic element of mysteriousness in the subtitle, A Parable. A parable is a story used to teach a lesson.
then we have the old man appearing, telling faustus that he is there 'to guide' thy steps unto the way of life'.he symbolizes the forces of righteousness and morality. the 7 deadly sins are also there in a grand spectacle to cheer up the despairing soul of faustus. if the general theme of morality plays was theological dealing with the struggle of forces of good and evil for man's soul, then dr faustus maybe called arelegious or morality play to a very
Theatre of this type was common during the renaissance, and drew on the medieval morality play of the previous era. This type of performance was primarily didactic in nature, meaning, it sought to teach the audience Christian morality and values. A few lines into the act, we find that Mephistopheles, although unable to perform a seemingly trivial act, to afflict the old man, does promise to Faustus that he will bring to him the dead Helen of Troy, after Faustus pleads with him to “ glut the longing of my heart's desire “. (Christopher Marlowe, in AA100 Assignment Booklet, 2013, p.19,) When Mephistopheles appears to Faustus as Helen, the deception is successful, and Faustus kisses Mephistopheles, telling us that his soul has flown, possibly
Lord Henry, who enjoys manipulating people to calm his hedonist feelings, spots Dorian's vulnerability immediately and plants the seeds of terror in the young man by imposing him his radical, yet catchy theories of life. In the beginning of the book, when he meets Dorian, he tells him "[An influenced person's] virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of someone else's music, an actor of a part that has not been written for him. The aim of life is self-development.
In Nathaniel Hawthorne’s novel The Scarlet Letter, the character of Roger Chillingworth was transformed from a well educated scholar into a fallen, unrighteous man. Roger Chillingworth was once kind, then becomes the symbol of vengeance, and finally becomes the personification of vengeance to the extent of losing his humanity. Roger Chillingworth (Prynne), a “kind, but never warm hearted man,” was not always a vengeful and diabolical creature, but once he lusted after the idea of love and kindness. During “The Interview” with Hester, he admits his fault of trying for love: “It was my folly! I have said it.
Every story has a protagonist and antagonist; however in The Picture of Dorian Gray, Dorian Gray plays both roles. As the novel revolves around his actions as the fascinating idol, his role quickly turns as he becomes the antagonist. The role of Lord Henry significantly affects Dorian, but it is Dorian who allows himself to be influenced by Lord Henry’s persuasive words. Oscar Wilde showcases Dorian Gray as the cause to his own transformation from a carefree to self absorbed young man as he allows himself to be influenced by Lord Henry on the importance of eternal youth and beauty resulting in his unchangeable, evil soul. Dorian Gray is introduced as an inspiring sitter for Basil Hallward, who finds Dorian’s “personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature...” (Wilde 8).
An early Morality play, ‘The Castle of Perseverance,’ records the spiritual progress of mankind from his hour of birth to the Day of Judgement. The Good and Bad angels contest to win his soul, as he forsakes the former to consort with Seven Deadly Sins. Later, Penance becomes his saviour, and lodges him safely in the Castle of Perseverance. Personifications of Good and Evil In the light of these points we may call Marlowe’s ‘Dr. Faustus’ a belated morality play in spite of its tragic ending.