Perspective is a complex matter, as it is derived from each individuals’ context and understanding of the nature of the issue. Thus, the concept of perspective is relative, meaning that each person’s views will be different from another, which creates, but does not necessarily impose, conflicting perspectives. For the purpose of this speech, the poems The Minotaur by Ted Hughes and Daddy by Sylvia Plath will be used to example the extremities of conflicting perspectives created. The Minotaur shows how Plath was a violent and manic person through the allusion of the myth about the Minotaur, a creature from Greek mythology, throughout the poem. Imagery is used to show Plath as an aggressive person, such as through the line “smash it into kindling”.
Is Benedick the comic hero of the play? How far do you agree with this statement? Suggesting if Benedick is the comic hero of Much Ado About Nothing is difficult to pin point a precise hero as each character possess a different comical trait. For the reason that each character during the play being a character to laugh at or with for respite after tragic events, for instance Dogberry’s use of malapropism mocks authority and makes fun of those who are in it. Devices that are used by Benedick and Beatrice are Bawdy language, word play and puns, which are very different compared to Dogberry’s According to Aristotle the idea of comedy comes from speculation concerning men dancing, signing and cavorting around the image of a phallus.
Commonly regarded as Euripides’ most controversial work, Medea is a powerful story of how one’s impassioned love can turn into furious hared. As a tragedy, it is completely unlike the Aristotelian work, yet it has a nerve jarring impact due to the unforseen climax. Throughout the play, Euripides has positioned minor characters to subsidize the major characters. The clever work of Euripides also suggests that the less significant characters are used in the play to develop the plot of the play and also to reveal and recall the events that could not have been shown. As a result of this, secondary character present dramatic importance throughout the play.
‘Still Angela’ by Jenny Kemp and ‘Ruby Moon’ by Matt Cameron are plays that evaded the norms of conservative and often straightforward theatre, into a dreamlike, surreal state. They portray life as a routine; and to escape it, the characters pursuit their own inner self journeys. Both playwrights Cameron and Kemp use contemporary theatre forms, which has created an interesting approach on story telling. However the theatrical techniques of Ruby Moon and Still Angela are completely dissimilar. Unlike ‘Still Angela’s’ jolted time frame, ‘Ruby Moon’ has a very distinct progression, as it is highly episodic.
William Shakespeare’s Much Ado About Nothing is a play which uncovers the positive and negative consequences that various interactions can have on society and individuals. Throughout the play multiple themes are discovered. One theme in particular that stood out to me was that not everyone and everything is as they appear. Some factors which come to light from this theme are the dishonour which comes with deceit and misunderstanding, the betrayal that one feels when being deliberately fooled, and the negative and positive results which can come from deception. Through both direct and indirect character interactions, we learn the importance of looking beyond ones façade to find where the truth lies.
Moreover, the different mediums enable the audience to explore the performative nature of identity and the individualistic nature of ambition and how the different contexts respond to and portray this. Ambition and identity in Richard the Third are overwhelmingly portrayed in a negative light, ultimately resulting in dire consequences; in an Elizabethan context individualism and ambition reflected a person striving to grasp what was not due to them - ultimately, opposing God’s will. Richard, in the play, is represented as both villain and protagonist. We are made aware of Richards duplicitous nature and his evil aspirations as early as Act 1 Scene 1 where he states “I am determinèd to prove a villain” a self referential (and metadramatic in nature) pun which brings about questions of determinism and free will, themes that are explored throughout the play; there is ambiguity around whether or not Richard actually has autonomy over his nefarious deeds, which he goes about plotting. In keeping with his Elizabethan context, Shakespeare can not be seen to oppose the chain of being, the hierarchical chain of the period where a king was at the top,
Prompt. Choose an implausible or strikingly unrealistic incident or character in a work of fiction or drama of recognized literary merit. Write an essay that explains how the incident or character is related to the more realistic of plausible elements in the rest of the work. Avoid plot summary. As humans we naturally want to have control over everything that goes on around us, and we try to stay clear of those situations we can’t control.
Which in opinion created non beliveable moments throughout the play for me. I was particularly upset by the way the characters seemed to show there emotion. The emotion of the character weren’t clearly portrayed. For
One of the themes of the play that is resurfaced again here is the idea of appearance vs. reality. Macbeth struggles to grasp what is real and what is created by his mind, which inevitably plays against him, thus making him do something that he will later regret. This soliloquy is also used by the author to communicate to the audience that one’s actions and thoughts can be greatly influenced by situations and people when they are not in a clear state of mind, and that you could end up saying or doing something that you wouldn’t normally do, and that you will regret
9/19/12 Madness in Literature Several authors utilize the aspect of “madness” to emphasize a point, to warn of a maleficent force, or to simply entertain. Two such examples of this technique being used are “Macbeth,” by William Shakespeare, and “Wuthering Heights,” by Emily Bronte. Within these stories, one main character of each story, Macbeth and Catherine Earnshaw, respectively, undergoes a change in nature to become “mad.” The madness of the characters illustrates an argument for the “unnatural” impetus yielding “unnatural” results. In both of these two works, the impetus that leads to each character’s madness involves a deviation from their natural state or behavior that is never resolved, but instead is allowed to compound, causing