Kendall Fagan Mrs. Randolph Honors English 1 28 February 2011 Blame Essay Imagine feeling such a strong hate that it warps and manipulates your ability to think and act clearly. In a perfect life, everyone would get along phenomenally and there would be no arguments or feuds. However, reality consists of pointless and meaningful arguments and many hateful people. Shakespeare’s Romeo and Juliet is a perfect example of how hate can change even the most loyal people and lead to many unwanted events. Juliet’s tragic death blames most of the characters in the play and unfolds the effect of hate’s far-reaching power as the fault of her sorrowful demise, but Nurse, Friar, Capulet, and fate are most at blame.
Question: Is Lady Macbeth's swoon, on hearing of the murder of the grooms, real or feigned - and the grounds of your opinion? Answer: We can readily understand how, upon a first reading of the play, having nothing upon which to base an opinion save Lady Macbeth's preceding words and conduct, one might think this swoon feigned, and but another exhibition of that presence of mind and determination of will by means of which she had succeeded in screwing her own and her husband's courage to the "sticking-place," which had not abandoned her during the murder scene (at first reading one might easily overlook the single unmistakable touch of weakness shown in the words, "Had he not resembled my father as he slept, I had done it,"), which had enabled her to take back the daggers and gild the faces of the grooms with blood, when the "infirm of purpose" refused to do it, which even that terrible task could not destroy, since, upon her return, hearing the knocking, she remembered at once that to be found fully dressed would show them to be watchers. But, having gone through the play and heard Lady Macbeth's troubled sigh "Naught's had, all's spent; Where our desire is got without content" (III. ii. 4-7); having observed her in the short scene with Macbeth after the banquet; and especially in the sleepwalking scene, we are satisfied that the swoon on this occasion is real.
Othello says to her “It gives me wonder great as my content to see you here before me. O my soul’s joy!” (2.1.199-200). These beautiful and loving words are soon changed to hostility and rage with the thought of Desdemona’s betrayal. Both Desdemona and Hero are accused of being unfaithful through presented “ocular proof”, they are both disgraced by the leading male role, and they are young and inexperienced in the ways of love and both women are extremely forgiving after they have been mistreated by their suitors. Much Ado about Nothing was written by William Shakespeare as a comedy, but it could have very well been turned into a tragedy comparable to Othello.
She primps excessively, lies, uses racist language, begrudges America's goodwill contributions to postwar Europe, and foolishly blurts out that she recognizes The Misfit. Not until the story takes a tragic turn does she begin to realize that she is not who she thinks she is. Situational irony occurs when a development in a story is the opposite of what the reader expects. In "A Good Man Is Hard to Find," this type of irony occurs when an evil man, The Misfit, causes Bailey's mother to see herself for what she is, a sinner. Her enlightenment allows her to redeem herself by casting off her selfishness and reaching out to the deranged killer.
She explains in the beginning of the article that Hamlet was her opportunity to prove her friend wrong when he told her "one can easily misinterpret the universal by misunderstanding the particular" (Bohannan.197). Bohannan believes that the Tiv will understand Hamlet because she believes that, Human nature is pretty much the same the whole world over; at least the general plot and motivation of greater tragedies would always be clear—everywhere—although some details of costume might have to be explained and difficulties of translation might produce other slight changes. (Bohannan.197) Bohannan, however, came across with many difficulties in telling Hamlet to the Tiv. She found that the Tiv misunderstood and argued with the details of the story more than the plot and the whole events of the play. The first example of misunderstanding was the word "ghost".
In Act IV, Desdemona portrays both loyal characteristics and qualities of innocence. In Act I she tells her father “You are the lord of duty, I am hitherto your daughter. But here’s my husband…” (1.3.184-185). As Othello’s perspective and motive changes throughout the play, Desdemona’s characteristics alter minimally. Desdemona’s innocent, loyal, and honorable traits contribute to the theme that things are not always as they seem due to Othello’s failure to recognize them in his moments of jealous accusation.
Ophelia is the representation of absolute innocence and her downfall inspires our earnest goodwill, that is, we feel deeply sorry for her. A mere pawn in the machinations of her father Polonius, Ophelia's ultimate fate is a devastating one. She is rejected by Hamlet, and then loses her father at the hands of her lover. Ophelia's residence at the castle was dependent on her father's
In the conversation between Dr. Stockman and his wife, as an example, Dr. Stockman says that ‘Yes, but I have right on mine!’ His Wife, Mrs. Stockman immediately reposes to his saying that ‘Right! Yes, of course. But what’s the use of right without might?’ The conversation suggests plainly that the ignorance can turn wrongness into righteousness. They change the might to the right and change the lie to the truth. Public opinion, in the play, decides all.
Lear, assaulted womanhood and his attitude towards women was revealed in the depth of the curse and what omens he wished upon Goneril. This may be Shakespeare using Lear as a tool to express his own dislike towards women or conversely, show how devastating it is for a parent to have an ungrateful child that turns her sadness into joy. Furthermore, through statement from “Never afflict/That scope” spoken by Goneril may be an indirect reference to the elderly and how they may rave on about senile matters that are of no concern to the younger generation as this is what Goneril thinks of Lear when he is this angry ranting on about cursing Goneril. The bulk of this text is very emotional as it focuses on Lear degenerating Goneril as a female. The mood is very dark and gloomy.
By saying these words to her he is crassly calling her a harlot, and making to appear that he never really loved her. Ophelia made one decision and that was to love Hamlet, and now he is using her actions to make her feel inferior and sinful. Up to this point in the play, Shakespeare depicted Hamlet as a mad man hell-bent on avenging his fathers suspect death, however: his cruel outburst at Ophelia is not a turning point in the story in which he goes from being a hero to being a cold-hearted oppressor. Hamlet tells Ophelia that she will have to ‘marry a fool’ because ‘wise men’ would know better than to marry her; he yells at her ‘get thee to a nunnery’, and yet the way it fits into the plot makes it seem almost expected. As the plot progresses Ophelia begins to lose her mind, resulting in her eventually suicide, but at no point his Hamlet called out for his harsh words against her in a significant way.