The character of the inspector is written by Priestley as a representation of morality in the play. The manner of The inspector is one the Birling's find rather disconcerting. This question of his character grows throughout the play, mirroring Sheila's and the audience's growing suspicion of him.” we didn't tell him anything he didn't already know" This all knowing quality of the character of the inspector gives a sense of being super natural, a quality confirmed by Priestley during the Inspector's outburst at the end in which he foretells the prophecy of 'fire, blood and anguish' giving the audience an underlying sense of unease at the reference to war. Therefore showing them the consequences of a lack of responsibility. This ironic hindsight into the war also gives the audience a sense of the inspector's wisdom.
Shakespeare's Presentation of Othello as Responsible for his Own Downfall Shakespeare’s Othello consists of the themes betrayal, love and dishonesty. At the centre of this play is the tragic downfall of Othello at the hands of his so called friend Iago. In this essay I will be discussing the reasons for and against Othello being responsible for his downfall through looking at critical interpretations of his character and actions. In some ways you could say that Othello was highly responsible for his own downfall as he was easily manipulated by Iago showing him to be gullible and naïve. Iago manipulates Othello by making him suspicious through inference, “Ha I like not that”.
Heaney expresses his unpleasant experiences in St. Columb’s and focuses on the idea of unfair treatment, while Montague expresses his anger at the malice treatment and cruelty which was bestowed on the boys by each other and also the corporal punishment instilled on the boys by the priests. Both poems evidently present the physical and linguistic types of authority which Heaney and Montague had to endure. However, while Montague poem sustains the focus on his experience at St. Patricks, Heaney broadens his focus and goes onto discuss his experiences of his youth while growing
However alternative aspects of his character are portrayed relaying an ambiguity. Caliban labels Prospero a ‘tyrant’ for enslaving him on his own island; the punishment that Prospero delivers to Caliban raises questions regarding the so-called lessons that he has learned. Sympathy is aroused within the audience on hearing upon Prospero’s doleful plight and opinion will have become more appraising when Prospero forgives his brother. Yet, another disturbing aspect of Prospero’s character is his acclamation of possessing miraculous abilities admitting he can even resurrect the dead. To a Christian audience of the Medieval era this proclamation would have been horrific and borderline blasphemous: it would have warranted a hanging at least.
I know I can definitely empathise with him. Ah yes, so did I. That element of the tragedy is also displayed in the film as John Othello expresses that the person he trusts the most is Ben Jago. There is a dramatic irony in that scene as the audience knows that Othello can’t trust Jago and this is represented through the use of dramatic music. Andrew Davies purposely used that technique to mirror Shakespeare’s thematic technique to create similar effect.
In drama, the symbols play the most imperative role. Tom acts as the narrator of the play and also a character within the play. He underlines the play’s hostility between objectively presented reality and the memory’s alteration of reality. He sometimes speaks to the audience directly, to give a more direct explanation of what’s been occurring between the characters on stage. I felt remorse for Tom as I was reading the play, and it was as if I knew exactly what he was feeling; the sense of being trapped in a life in which he wanted no part of; what kind of life is that for a person?
Hamlet’s soliloquies unfold the internal dilemma and mental obsession of the chief speaker. They lend an insight into Hamlet’s contemplative nature and the problem of procrastination. Most of all, they mark the movement from his inability to overcome his scholarly nature to his final resolution to become an avenger. The audience comfortably gets sundry approach to the psyche and mindset of Hamlet. Hamlet’s first soliloquy gives the first true insight into Hamlet’s inner turmoil.
he puts on a mask of madness to mislead the world. In the Third Soliloquy Hamlet appears more determined. According to certain critics this soliloquy has a great importance because it reveals Hamlet’s rational mind, as he puts Claudius to test by enacting a play. The Fourth soliloquy is the most famous and essential, And is considered as a pioneer in English literature. Here Hamlet enters with a dilemma: “To be or not to be”.
And can the public acquire synthetic knowledge from a play? I will be answering these questions in my exploration of the epistemic crisis in Othello. The play is put on trial; the crime is of insufficient and questionable knowledge. By extension, it is the failure in the act of belief to cultivate into knowledge. Knowledge is therefore caricatured by the act of belief in the dialogue between the characters in this play.
Through his use of verbal language techniques and devices, Shakespeare develops loving as an unwanted, painful, disease throughout his play Twelfth Night that ultimately can turn men into monsters. He both conveys this warning to the audience and makes the play interesting and attention grabbing for them by skilfully using metaphors, comparison, emotional language, rhyme and allusion. Twelfth Night is a timeless piece of literature thanks to the intricate verbal techniques that Shakespeare weaves with a purpose into the play. In Twelfth Night, Shakespeare portrays love as a “hunger” to show that we are pained by it when we cannot satisfy it, drawing similarities between the ache of loving someone to “hunger pains”. He also uses a metaphor to convey his opinion that the need for love is as great as the need for food.