It is quite interesting to note that the words of the witches will have an echo in Macbeth’s “So foul and fair a day I have not seen”. Macbeth utters these words at the very first time he enters the stage. This shows the evil connection between Macbeth and the witches. This is suggestive of the psychological depravity of Macbeth who means that the day is foul because it is stormy and fair because he has won the battle against King of Norway and Thane of Cawdor. In the use of the language of witches, Shakespeare shows a great mastery.
“(1.3.47-49) These three lines are extremely crucial to the play because it gives Macbeth his beginning thoughts toward receiving the throne. Shakespeare made the witches deceive Macbeth and Banquo who begin to believe they are invincible and have much to look forward to. This proves misogyny in Shakespeare because it ultimately put the witches to blame for all the horrible events in the play. Shakespeare also portrays his misogyny through Macbeth as he belittles the witches by saying, “How now, you secret, black and midnight hags.” (4.1.47) In Shakespeare’s era, chivalry and respect toward women was big. By having a character in his play say this to three so called women, seems
How to Read Literature like a Professor In the book, How to Read Literature like a Professor, Foster goes through the many ways to read literature not through a story line, but by explaining how every story is somehow based on another story. Each chapter focused on one literary device, or commonly used symbolism. In my opinion, the chapters were presented in the order of simplest to hardest to understand. I learned something new in each chapter of this book by the way Foster explains literature through his use of rhetorical devices. In Chapter one, Foster explains the symbolic reasoning of why a character takes a trip.
Within the first ten lines of the play, the men declare Cleopatra to be a lustful “gipsy,” a description that is repeated throughout the play as though by a chorus (Act I, Scene i). Cleopatra is labeled a “wrangling queen” (Act I, Scene i), a “slave” (Act I, Scene iv), an “Egyptian dish” (Act II, Scene vi), and a “whore” (Act III, Scene vi); she is called “Salt Cleopatra” (Act II, Scene i) and an enchantress who has made Antony “the noble ruin of her magic” (Act III, Scene x). But to view Cleopatra as such is to reduce her character to the rather narrow perspective of the Romans, who, standing to lose their honor or kingdoms through her agency, are most threatened by her. Certainly this
Priestly uses dramatic irony when Birling is talking such as “you’ll hear some people say that wars inevitable and to that I say-fiddlesticks!” Here J.B Priestly makes Birling look stupid, to make such a silly call like that, that there is no chance of there being a war. But the audience that would be watching this play would know that there have been two world wars in the last 33 years! The audience would now think of Birling as someone who thinks he knows it all! But really does not have a clue what he is talking about! And this is the message Priestly wants to give out about rich upper classed obnoxious people, that they have pretty no idea what they’re talking about.
Jhally- Advertising and popular culture viii. Gill- Supersexualize me! ix. Steinem- Sex, Lies, And advertising g. Quotes: h. I will apply this to the text by talking about men’s Hegemony of masculinity, Hyper reality-the escape/foggy look at reality, III. Description of the text i.
He enjoyed reading because it ‘’cured most things short of school’’; meaning that reading books allowed him to escape to another world. Reading was valuable to him as he stated ‘’it was worth ruining my eyes’’. Reading books provided a sense of coolness to the speaker (Line 3 ‘’to know I could still keep cool’’). Lines 4-5 reveal that through reading the speaker could picture fighting (‘’deal out the old right hook’’) and standing up to his bullies (‘’ dirty dogs twice my size’’). In the second stanza, the speaker is at the stage of adolescence.
Readers of the nineteenth century had themselves a ghost story, which satisfied the fashionable fascination with Gothic horror. However when Edmund Wilson posited in his 1934 article that The Turn of the Screw was ambiguous, it caught the interest of countless academics, who started to read it with a newer mindset (O’Gorman 125). Tellingly, when James put his collection of well over a hundred stories in order, he didn’t put The Turn of the Screw with the other ghost stories; he put it between two ‘psychological tales’ (Seymour). James filters the story through several narrative frames to give the effect of ambiguity. Can we trust the recount of the implied James (Allen 74)?
This is a reflection of the state of the form empire. The She-Wolf also represents Rome’s pagan past when “false and lying gods” (Alighieri 251) held sway. She always “grows hungrier” (Alighieri 251) for she knows not the love of the Lord. Virgil is a key figure in The Divine Comedy and an icon of ancient Rome. Virgil “became the model for Western poets” (Matthew & Platt 150), so it is no surprise he would be Dante’s guide.
Neighbors -- actual residents of Dorchester -- grab their moments of immortality before the TV cameras. The disappearance of the adored kid has given rebirth -- so it appears -- to neighborhood solidarity. But heat does not lead to progress. So, Aunt Bea (Amy Madigan) hires a local PI, Patrick Kenzie, (Casey Affleck, the director’s younger brother.) The skinny but explosive man with a baby face and a large gun also grew up in the hood.