Achieving meaning in Drama There are various ways in which a playwright can achieve meaning in a drama play. It could be from the costumes the actors are wearing to how much emphasis the actor is putting in a word. These things not only add meaning to a drama play, but it also helps the viewer understand the play better. Things like the use of space and body gestures can make a huge impact and help the audience to see what the playwright is trying to interpret to them. Like I had mentioned above, the costumes that the actors wear are key in the meaning of the drama play.
This shows how Viola is prepared to serve Orsino, but the only way she can is to dress and act as a man, since women weren't usually part of the Duke's courts. However this may not be considered backward because she's desperate to get to someone. The fact that she's prepared to go to these lengths to get to Orsino suggests that she has some strong feelings for him, and that's she's merely doing what she needs to do to get to him. The second aspect that could be considered backward is the binary opposites that Shakespeare sets up within Twelfth Night. Binary opposites are where the characteristics of two characters are the complete opposites of everyone.
This enforces the idea that unlike Lennie, she is a complex character in the novel. Steinbeck mentioned that Curley’s wife’s voice had a “nasal, brittle quality” which is a clear sign of her flirtatious behaviour. Although her intentions were flirty, the fact that it was described as ‘nasal’ by the author made it obvious that it was unpleasant to the ears. The reaction from George made it clear to the reader that she was an attractive woman, however he was being apprehensive as he “looked away from her and then back”. This contrasts with Lennies reaction as his “eyes moved down over her body” blatantly checking her out.
‘Men were deceivers ever.’ To what extent can it be argued that Shakespeare’s presentation of men’s attitudes to women in ‘Much Ado about Nothing’ allows for comedy? In Much Ado about Nothing, it can be equally argued that men’s attitudes towards women are actually used for comedy purposes, and it can be argued that their attitudes aren’t. For this argument, the relationship between Beatrice and Benedick at the start of the play can be seen as comical to the audience, as they both claim to dislike each other and take pleasure in making rude remarks to one another. On the other hand, the relationship between Hero and Claudio could be seen as quite dark to the audience, as there are accusations and trust issues between the two. The quote ‘men were deceivers ever’ comes from Act 2 Scene 3 of the play, from the song that Balthasar sings.
While it is not that obvious to the characters at first, the audience can plainly see it (unpredictability isn’t really a strong point of the romantic comedy). One thing that shows the attraction between Smith and Saunders is the verbal quip that they have going on in the film. This is clear in the scene where Saunders refuses to tell Smith her first name and yet Smith is tenacious in wanting to know it. You can just tell from Saunders amusement and to her giving in that she’s attracted to Smith. There are a number of differences between Saunders and Smith.
The focus of the commentary is to form an argument around the statement that Catullus’s overall attitude to women is negative and derogatory. However, we will see that this is not always the case of ‘Lesbia.’ His love for Lesbia is unconditional and he treats her with higher dignity and respect to other women in the play but she is still slandered by Catullus but, not in a way which is as obscene as the other women such as Ipstilla and Aufillena. Slander in Catullus’s era is however not uncommon among men and can be seen as an effort by Catullus to portray the period in which his poems are being written in, instead of his overall attitude to women. Catullus’s main attitude to women is his attitude to love. Catullus has a gracious and genuine attitude to love, especially with Lesbia at first.
She also lacks the wisdom to see what grave danger she is in. Desdemona wants Cio and Othello to be friends again. She starts spending more time with Cio, unaware that Othello will become jealous. She does not realize that Othello suspects she is cheating on him. If she knew soon enough that Othello thought she was cheating on him, she could have explained to him what the situation was.
Imagination is used to describe the ambiguity of love itself, by having fairies implementing magic on the characters to cause them to fall in love with the “wrong” people. One can only imagine such occurrences, and the outcome is humorous and simultaneously exemplifies how irrational love is. Dent even details that, besides effective use of malapropisms, “The inexplicability of love’s choices was of course a favorite topic for discussion …and a favorite theme for Shakespearean comedy” (117). Shakespeare uses the misfortunes that befall housewives and other characters as an opportunity to usher in a reason for the phenomena. His “reason” is fairies and their magic, which the absurdity of which acts as satire against whimsical romance, suggesting that love’s path has no real justification.
William Shakespeare’s Hamlet (1599-1601) has successfully continued to engage audiences through its dramatic treatments of soliloquies and asides. It has retained value as being worth critical study in both an Elizabethan and modern context – this may be said due to its mirroring of human nature in society, thereby depicting the thematic concepts of struggle and disillusionment. Shakespeare’s use of dramatic and language techniques, consisting of much great symbolism and metaphorical language, illustrates the dramatic irony and action of textual integrity in Hamlet. Thus these salient notions are achieved through Hamlet’s speech directed towards a society that reflects both an Elizabethan and modern contemporary context, whereby audiences reflect upon the depiction of humanity’s struggle in a disillusioned reality. In Hamlet’s third soliloquy, there are echoes of struggle and disillusionment which are illustrated as important concepts in dealing with Shakespearean language throughout the play of HAMLET.
The description of change from 'scientist' to 'savant' indicates an scornful view held by Hannah towards this development from thinking to feeling. She describes the hermit to represent the 'nervous breakdown' of the Romantic era. This further indicates her personal belief of it being a 'decline from thinking to feeling'. However, she does mention how he was a 'sage of lunacy', 'suspected of genius', which could hint at a different kind of knowledge being discovered in the Romantic era, rather than a complete intellectual descent from Classicism and the Enlightenment. Other representations of this in the play could be in how Thomasina, a highly intellectual girl before her time, expresses an initial ignorance of sex but slowly develops this knowledge towards the end of the play.