He quickly begins to mention how short life is even referencing her ‘preserved virginity’ being taken when she’s dead as ‘worms shall try.’ He finishes by focusing on the present and telling her to make the most of the time that they have now, which hints at the use of sexual innuendo. The speaker presents an argument in these three parts, however there are several layers of meaning to this poem. To his coy mistress is a poem, and ghazal is an ancient poet form often used to explain the beauty and pain of love. ‘If you are the rhyme and I the refrain,’ this is use of music to describe to describe fate and the feeling of eagerness is unnecessary as she is aware that when the time is right they will become one with each other. It also has several forms of sexual innuendo similar to ‘to his coy mistress’
In his soliloquy in Act 2 Scene 2 Line 380 he’s especially brutal towards Desdemona in his plans showing no shame what so ever. Othello exhibits a part of humans that is able to be tempted and deceived. While a good man at the start, Shakespeare uses this as a template to bring out the green-eyed monster of jealousy in Othello, as an attempt to highlight that quality in each of us. The dream speech in Act 3 Scene 3 Line 466 is where we see Iago makes this happen. As Iago ends Act 1 with his soliloquy, we become sure that dishonesty is one of his most revered qualities.
Ladies and gentlemen, welcome to “Explorations of Powerplay”, an exhibition sponsored by Paramount and Bandai, that represents the complex interplay between people and power in various works. Our first and main part of the exhibition is William Shakespeare’s Antony and Cleopatra. The tragedy explores how relationships between people can affect their relationships with power. Antony and Cleopatra is a perfect piece to explore powerplay, as it represents sexual powerplay, military powerplay and political powerplay. The sexual powerplay is between Antony and Cleopatra.
It is through the comparison of the Othello’s language at the start of the scene and his language as the story progresses that Othello’s loss of control and depravity of his mind is reflected. At the start of the scene, Othello presents himself as confident: in his love with Desdemona and within himself. He is loving and devoted towards his new wife stating that he “will deny thee nothing”; although as the scene progresses, it is clear that Othello is losing control of his mind as he is overcome by jealousy and rage. The man behind this calculating act is Iago. Shakespeare uses the dramatic device of the Machiavel to portray Iago who manipulates Othello in order to prompt jealousy within him.
Scotty’s melancholia and alarming fixation with Madeline becomes evident when he later meets Judy who holds an uncanny resemblance to his late affection. The profound visual style of Vertigo aesthetically creates suspense and an eerie, yet alluring ambiance, placing you subconsciously within the realm of the film. The thematic concerns include power, male dominance and erogenous obsession, clarifying why its reception encounters feminist issues regarding the objectification of women within the film and ideas of women being willingly controlled by men to look and do as the male pleases. These concerns will be discussed further whilst analysing two broader elements of visual style: colour and framing. Hitchcock himself stated ‘the story was of less importance to me than the over-all visual impact on screen,’ (Wollen, 1997, pp.
Death and (Carpe) Diem Death, “a gentleman in a dustcoat” (line 1), will forever catch and snuff Youth, “a lady young in beauty waiting” (line 9), and John Crowe Ransom’s “Piazza Piece” creates a tension between the two actors/allegories, a tension that is ultimately resolved in theme and poetic structure. “Piazza Piece” is Petrachan not only in form (an octave and sestet) but also in content (the subject of love). The form (sonnet) allows Random to examine the conventional theme of love and to evoke the ancient time when courtly love prevailed as a literary convention in the West. If the poem’s form (and surface content) suggests a remoteness in time, its title suggests a remoteness in place. Additionally, the word “piazza” denotes a porch or veranda in the South, but it also denotes an open square or public place in a city of Italy.
Along with the frequent use of rhyming couplets and enjambment, this makes it clear that the Duke was a suspicious and dominant man to his dead wife and also shows his control. The first evidence in the poem to support this is “Will’t please you sit and look at her?” and also “Sir, twas not her husband’s presence only, called that spot of joy into the Duchess’ cheek!” Both are said in reference to his wife to the Count’s envoy. These are effective as we are presented with the subjective viewpoint of the Duke. Like Shakespeare, Browning wrote plays as well as poetry which is evident as we see how he combined the techniques of play writing and poetry. Again, as the Duke talks about the Duchess
Meaning to embarrass and fool Malvolio, Maria, with the help of Sir Toby Belch and Sir Andrew, writes a mysterious love letter to Malvolio. “I will drop in his way some obscure epistles of live, wherein by the color of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece: on a forgotten matter we can hardly make distinction of our hands.” (II, iii, 137-142) Maria explains the plan of the letters to Sir Toby and Sir Andrew and discusses how much Malvolio will look like an idiot during the aftermath of him reading the letter. What they are planning will be sure to make people laugh. It shows dramatic irony because not only do Maria, Sir Toby and Sir Andrew know about these letters and so does the audience, which adds to the comedy, readers crave the concept of knowing something that another character does not know because it make them feel powerful.
There may seem to be many motivations for villains throughout the times but as we study these scoundrels we find that generally they are motivated by pure jealousy, or a need of superiority. They utilize manipulation, both physically and mentally in order to achieve their goals and show a lack of remorse. Stephan King’s “Misery”, provides us with a very graphical depiction in Annie Wilkes a sadistic, mentally unstable retired nurse, who has a desire for power and control. Annie goes to tortuous extremes on her captive Paul Sheldon to realize this. Iago from Shakespeare’s play Othello is also a power hungry villain who enjoys having people under his control, he is driven by extreme jealousy and the motivation, revenge.
Browning’s use of this Dramatic Monologue involves the reader in the process of assimilating and deconstructing the story of the Duke of Ferrara’s relationship with his ‘last duchess’ through his diction, style, structure and rhythmic pattern. The Duke is portrayed as arrogant, possessive and well educated with a sense of control issues. We are able to identify these characteristics through Browning's diction and tone of voice. The Dukes arrogance is vividly