In Act III of Shakespeare’s play “King Lear”, madness is expressed in many of the character’s speeches. Lear, Edgar and the Fool all demonstrate a great deal of wisdom and insight when they discuss the chaos going on throughout the Act. Each character has a unique way of expressing their opinion. By Act III, Lear’s life is in turmoil; the daughters he loved so greatly have betrayed him, leaving him powerless. The rage that Lear feels is unbearable; he was so angry that he ran into a life-threatening storm.
Carol Ann Duffy describes Medusa as a bitter woman, who has been betrayed by the man she loved. The poet creates the reader’s reaction to medusa’s character through a direst address to the reader. Rhetorical questions like ‘Are you terrified?’ and ‘Wasn’t I beautiful?’ bring the reader unto immediate contact with Medusa. Furthermore commands like ‘Be terrified’ and ‘Look at me now’ are used to build fear and allow the reader o experience her rage. This is just one method used to create the reader’s reaction to Medusa.
How does Gertrude affect Hamlet’s tragic vision? Gertrude is a key shaper of Hamlet’s tragic vision; it is her “o’erhasty” and “incestuous” marriage to Claudius that vilifies the world to him and makes him distrust the woman he loves and question himself throughout; amplifying his solitude and leaving him without avenging the King’s death. An important component of a tragedy is the protagonist’s downward spiral into isolation, where their options of comfort and capacity to be saved seem to be removed as each of their paths for redemption are closed off before their eyes. We see Hamlet constantly fighting his own mind and the corruption of the world and people around him , he believes the ghost as, “honest” (I.V.138) at the start of the play but the perverse and contaminated world he sees as “rank and gross in nature”(I.V.6) contorts this view, making him question himself, later declaring, “ The spirit I have seen may be a devil.”(II.II.551/5) In Act III, Rosencrantz provides a remarkable and ironic vision into Hamlet’s tragic downfall: “The cease of majesty dies not alone, but like a gulf, doth draw what’s near with it..” This metaphor lends itself to articulating the particular kind of events that claim Hamlet, as though these ‘spokes’ are the individual triggers that cause the disastrous chain of events leading to the brutal end. There seem to be two factors to Hamlet’s tragedy that determine the sequence of events that conspire to destroy him: the primary factor is the murder of Hamlet’s father, which creates the ‘gulf’; the secondary factor, which compounds Hamlet’s tragedy into this literal ‘downward spiral’ is what Hamlet views as Gertrude’s, “dexterity to incestuous sheets.”(I.II.1) The momentum the whirlpool creates cannot be escaped, but the sense of a parallel world, already vanished, in which things could have been healed, adds to the sense of tragic
Romeo has a lot of conflict, which he approaches with different, changing attitudes, which we know as contrast. For example at the beginning of the play when we first meet Romeo in Act 1 Scene 1 we learn about his very self centered, immature character as Shakespeare portrays him as. Romeo is revealed as a depressed and melancholy person. This is because of his love-sickness for Rosaline. More importantly, she does not love him back, which fuels his depressing mood.
His language is full of anger and hatred and the audience would quickly catch on to Iago’s bitter character. The tone is unpleasant and Shakespeare portrays this with his choice of lexis, such as “Tush”, an abrubt, onomatopoeically harsh word, and “curses despise me if I don’t”, things that would lead the audience to question the morals of the character. The subject of discourse in the first lines of the play are all about hate, “Thou didst hold him in thy hate.” And the audience start to understand what Iago is made of. Lexis such as “Moorship” show how low Iago stoops, as he picks on anything he can in his criticism, including Othello’s race. From line 7 through to line 8, Iago has a long rant about Othello, as he felt he had been done an injustice when he was not chosen as lieutenant.
It is obvious from this first soliloquy that Shakespeare has moulded Richard to look almost monstrous and noticeably deformed. From the beginning of the play we are aware of Richard’s feelings about his body and how much contempt and disdain he has for being given such a repugnant body. “Cheated of feature by dissembling nature, Deformed, unfinished” (1.1.19-20) Richard draws the audience in, and endeavours to attract our sympathy by addressing his deformity. By doing this he is clearly trying to manipulate the audience. He talks about how he has “no delight to pass away the time” (1.1.25).
There's a word I really hate. It's a phony." He displays his disgust through hyperboles, stating that he would "puke" at phony things. In this portion of the novel, he uses metaphores, stating that Spencer seemed as sharp as a "tack." His attitude of revulsion causes him to alienate himself from the adult world.
One type of conflict is sexual. Many people react highly irrationally as it involves strong emotions. Often people are full of anger if they find they have been cheated on, or sad if they have to choose between the love of one person or another, also the deep smouldering fire inside full of passion and desire for another person. When you are faced with one aspect of sexual conflict. In the crucible John Proctor is heavily stung by these sexual conflicts as he once gave in to the desire between him and Abigail which impacted on the conflict that arose between Elizabeth
“I am in blood / Stepp’d in so far, that, should I wade no more, / Returning were as tedious as go o’er.” (3.4.136-138) In this quote, Macbeth is telling himself that because he has stepped into evil so deeply, it will be hard to go back to morallity because he will never be able to rid of this guilt brought onto him. He begins to feel so remorseful, that he starts hallucinating and realizing that he has done such treacherous deeds. Even though he can still see how his actions are terrible, as the play develops, he begins to inch deeper and deeper into his own destruction of innocence. Macbeth had always felt threatened by Macduff because Macduff knew what a traitor he really was. Therefore, he had wanted to plot to end Macduff’s life as to not pose a threat on his reign any longer.
“Maud: A monodrama” is a complex exploration of love, death and society, conveyed through an erratic narrative with a near-schizophrenic speaker who laments the death of his lover, Maud. Received badly by most contemporary critics, the idea of “Maud” being both “mad” and “mud” shall be examined in this essay and the reasons why certain critics may have regarded it in such a way. The speaker’s madness, delusion and cynicism pervade the poem. The neurotic, frantic and exasperated speaker may have led to certain critics regarding the poem as “Mad”. In the first stanza, the environment in which the speaker’s father committed suicide is personified as having “lips” that are “dabbled with blood-red heath” and “red-ribb’d ledges”.