How Does Arthur Miler make the climax to Act 3 Dramatic for an audience? Arthur Miller ‘The Crucible’ is a play based on the themes of deceit, envy and honour. The definition of the word crucible is a container in which materials are heated so as to separate the pure from the impurities. This definition associates with the initial motifs of the play: suspicions of witchcraft and the supernatural, and you can see the title of the play metaphorically reflecting the oppressive events in Salem. Act three is arguably the pivotal scene of ’The Crucible’.
This is also an early use of characterisation which lets the audience know that Macbeth’s character now has a spark of ambition in his mind. Furthermore, we notice that Macbeth generally speaks in “lambic ventonater” which elevates him above the commoner’s “prose”, thusly making, his conflict with himself more important. Through Shakespeare’s development of ambition, he can see how Macbeth is internally conflicted by these powerful thoughts and desires within his heart. Secondly, Gender within the play has been disturbed
Perspectives within a literary text tend to be depicted in different ways in order to confront the responder, challenge perceptions and promote a varied perception of the human condition. This depiction of conflicting perspectives creates a makeup of the entire construction of the text, as it effectively creates a cause for conflict; the protagonist of a story very rarely does not have a differing perspective on an issue to the antagonist of the story, inevitably leading to conflict, and therefore, a story line. This notion of conflicting perspectives is powerfully expressed through various textural forms, as shown through William Shakespeare’s 1399 dramatic text, Julius Caesar, Mark Haddon’s 2003 novel, The Curious Incident of the Dog in the Night-Time, and Sylvia Plath’s 1966 poem Morning Song. Throughout Julius Caesar, Shakespeare effectively utilises textual form to shape the responder’s understanding of the conflicting perspectives surrounding the personality of Marcus Brutus. Throughout the dramatic literature medium, Brutus experiences many different forms of conflicting perspectives relating to his own sense of identity as well as his relationships to those around him.
Gilman demonstrates this very notion in the slightest ways, such as when the woman first describes the wallpaper as if it had been used by a room of boys: “The paint and paper look as if a boy’s school had used it. It is stripped off – the paper – in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.” This first impression of the room is obviously a negative one. Yet hidden within this description lay distressing truths. The fact that the woman describes the wallpaper as “used up” by boys gives us a notion that she is implying that for years women have been used by men.
Though they both deal with the same concept that he who hold great power is not far from or is already corrupted they are both presented in different ways. In both text power drives the plots in a way that creates high amounts of tension and suspense that keeps the audience intrigued. Both writers; Orwell and Shakespeare, use contrast between characters and inner conflict in very different ways. This is used in order to support the tension and suspense that was created. For example in the play Macbeth we are aware of Macbeth’s inner conflict which results in us (the audience) to sympathise with him.
The narrator, which suffers of a nervous disorder, is trapped in a place that is supposed to be some kind of a haunted house or an old man asylum. Primarily, the setting is taken place at a lonely room surrounded by yellow wallpaper with a window covered with bars for security reasons. When at first the woman is put into that room it can be clearly foreshadowing by the readers that the room is for crazy people and they can get even crazier in that room. This is exactly what happens to the lady, she feels trapped in the room and starts to see figures of woman in the wallpaper. The story goes by and the setting does not change, that is why the woman goes crazier and starts crawling into the wallpaper trying to help get the woman out.
It provides the audience with a vivid understanding of time and the image it creates. Also, the remarkable language indicating Macbeth’s insanity, and it’s lasting effect throughout the play. The passage also brought into a clearer explanation Macbeth’s tragic flaw, which was his weakness towards his ambition. Through these clever themes and images, much can be determined of the play, therefore making it the most gorgeous scene within
Another example is when Poe uses phrases such as, "It was open-wide, wide open and I grew furious as I gazed upon it". He uses the first person point of view to create a tension between what is recounted and what is not recounted, so that the reader is caught in suspense, having to work out what he can. The use of repetition in first person point of view helps to enhance an uncertain sense; it creates the suspense of not knowing what will happen next, it limits the whole use of the language and the details like a ‘block’ which won’t let you go through, who’d stop you before you realize and discover what will happen
The wallpaper in the woman’s room represents imprisonment and this is strongly shown when she says, “The faint figure behind seemed to shake the pattern, just as if she wanted to get out” (Gilman). The imprisonment image is created because she repeatedly asks to remove the wallpaper but isn’t allowed and she is evidently trapped in the room, just as the figure in the pattern seems to be trapped in the wall. Gilman also shows how obsessive she has become with the wallpaper and why she is so obsessed when she describes the wallpaper, “At night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be”. The woman in the pattern that she refers to is actually her.
It is the combination of these key ingredients and mysteries that make Macbeth so compelling. Indeed, one of the most compelling things in the play is Macbeth himself. As the plays titular character, one would expect him to play a large part but the ways in which he compels the plot and reader go above and beyond expectation. Throughout the course of the play, we see Macbeth’s journey from a highly regarded battle hero to a despised tyrant, from a level headed army captain to a cold impulsive King. We witness this through the comments of the other characters in the play.