When he sees that they are the underdogs, and not the enemy as he thought before, something in him changes, and he even runs to the bathroom to throw up and cry. I believe that he feels that his treatment of them before is not justified. He realizes that these are
Nick describes the afternoon as being ‘broiling’ and Fitzgerald’s use of pathetic fallacy suggests the imminence of violent and heated emotions that ensue. The beginnings of these are seen in the first few moments of Nick entering the house when Daisy moves over to Gatsby and kisses him on the mouth. This adds tension to the scene as Tom is only in the other room. The reader soon sees Tom’s realisation of his wife’s affair with Gatsby and ‘that he was astounded’ as described through the eyes of Nick. Knowing Tom has a violent temper which was previously seen when he lashes out at Myrtle the reader therefore fears trouble.
He tries to make them feel guilty by continuously trying to make them see their errors and how they have been forgetting socialism, making them seem selfish and obnoxious. He uses a lot of rhetorical questions to make the characters think about what they have done and probe at the truth. Another way the Inspector is presented is the way Priestley makes him seem so mysterious. At the end of the play, the audience are left not knowing exactly what or who the Inspector was. The Inspector turns up unexpectedly at the beginning of the play and interrupts the Birling family.
Another example of how tybalt is a trouble maker is in act one scene 5 Tybalt spots Romeo at a Capulet party. Furious at this invasion of Capulet territory, he wants to fight with Romeo right then and there. Also last but least in act 3 scene 1 where Tybalt expresses his troublemaking way the most when he was looking for trouble and wanted to fight romeo and romeo said he didn't wish to fight, Mercutio was taking up for romeo and Tybalt killed him. Benvolio on the other hand portrays himself as a peacemaker in so many ways in this play.He did not like seeing trouble and tried to stop it as much as possible and tried his best to keep the peace. First off His name, Benvolio, means well wishing, which is reflective of his character throughout the play.In the very first scene, Benvolio establishes himself as a peacemaker as he tries to stop the fight between the servants.Also in Act 3 scene 1 Benvolio warns that the Capulets are around looking to start a fight.
The reason for this is to make it like what people would do in modern times. Another difference is the scene changes. In the Zefferelli version, Tybalt, Romeo, and Mercutio are taunting each other and playing around. After Tybalt stabs Mercutio he didn’t think he actually hurt him and everyone thought he was just playing around and faking an injury to make fun of Tybalt. In the modern version, Mercutio and Romeo are clearly afraid of Tybalt.
The scene begins with him explaining his theory to Valentine, Chloë and Gus. Bernard appears arrogant whilst discussing his theory using language such as “undoubtedly” to support his weak claim. Stage directions present him as domineering and almost aggressive, he’s described as “(…pacing around…)”, an animalistic description. This adds a comical effect to the play because due to the time shifts in previous scenes, we know Bernard is setting himself up for failure and embarrassment. Stoppard further explores the idea of there being a universal pursuit for knowledge in scene 7 when studious characters Hannah and Septimus are on stage at the same time, by this it’s possible Stoppard is trying to express that those who are constantly seeking an answer miss out - Septimus is the hermit Hannah spent so much time looking for.
Giedroyc’s subtle action versus Bronte’s bold speech allow the viewer to sympathize more with the Linton in the movie over him in the book, as his interactions are more associated with feelings of despair after his mother’s passing. The same audacious versus faint temperament of Linton appear again later in the piece when little Cathy and Linton get into a minor quarrel that triggers Cathy to shove the chair Linton is sitting in. Both the film production and the novel compose this to be a dramatic scene, but with emphasis on different elements. In Bronte’s version, Cathy “gave a violent push and caused him to fall against one arm” (176) and then Linton was overcome by a coughing fit that “soon ended his triumph”. (176) The scene ends with Linton in
Then, when people called her names or treated her like a prostitute, she would become extremely aggressive and yell and curse. Her hostile self-harm behaviors were shown when she was punching the door. She was angry with her boyfriend and could not express it well, so she felt the need to punch the door repeatedly. This can also be instrumental aggression because she is expressing other feelings through breaking the door. Overall, I believe that Tamela’s self-injury was instrumental aggression.
In the play Julius Caesar quite a few characters demonstrate some or all of these qualities, one of them being Mark Antony. As a leader Antony is manipulative and morally wrong, he exhibits poor and untrustworthy conduct and after Caesar's death he is blinded by rage and begins to make a reputation for himself, some of it good, some of it evil. After Caesar's death, Antony's character begins to undergo a dramatic change that is very new and very evident to the reader. It is first shown in Act three, scene two; Brutus has just given his speech, he has managed to get the audience all hyped up and angry towards the dead man Caesar, that is when the humble and dumb jock that is Mark Antony arrives. His hands stained from Caesar's blood, his face wet with tears.
To show the audience the changing attitudes of Krogstad, I would first show Nora’s discomfort at having him in her house. Krogstad would enter from back of the stage, whilst Nora is facing the audience, her back facing Krogstad. When Nora first comes to realise Krogstad’s presence, she is uneasy and tense as she asks, “You want to speak to me?”- This reveals to the audience that there is something not quite right about Krogstad. Also, emphasise on his change in tone needs to be sardonic and patronising towards Nora, in order to get what he wants from her, which is to keep