Both texts revel the tension between idealism and reality. Analyse and compare how this shared idea is represented in the texts and evaluate the extent to which it is impacted by the composers’ context. When does our attainable dream of love, become an idealised fantasy? The universal conceptualization of love is a subject explored throughout history and literature. Elizabeth Barrett-Browning’s sonnet sequence Sonnets from the Portugeuse, explores the experence of idealised love in the patriarchal confines of the Victorian era, juxtaposed against F. Scott Fitzgerald’s novel The Great Gatsby, which comments on the unatanability of idealised love due to the corruption of the American dream.
Did you ever try finding an extra fifth leg on a cat? Some say if you look hard enough you would probably end up finding it. Fate is nothing more than a terribly misinterpreted coincidences of seemingly related events because human emotions are the ones who inconspicuously influence one’s perception and memories of all the major events of one’s life. Draining all the human feelings out of Romeo and Juliet’s drama, there is nothing more seemingly absurd event than the death of two overly spoiled teenagers whose life was not difficult at all, realistically speaking. As the true father of the English literature, Shakespeare, takes oneself into an emotional, dramatic journey through many of his playwrights.
· He tells Ophelia he loves her and does not love her, thinks she should never have trusted him but wants her to go away to a nunnery for her own protection. He calls himself a liar, but when he discovers Ophelia is dead, Hamlet's reaction suggests that he did, love her. · · I loved Ophelia: forty thousand brothers · Could not, with all their quantity of love, · Make up my sum. · · Hamlet does not always tell the truth, but there is enough evidence to suggest that Hamlet probably did love Ophelia. 4.
In Act One of The Crucible, Arthur Miller uses an omniscient overture to reinforce the secrecy of something “no hint of [which] has yet appeared on the surface” – that John Proctor, “respected and even feared in Salem, has come to regard himself as a fraud.” The next scene reveals the source of this dramatic loss of self-respect – Proctor has committed adultery with Abigail Williams, his former servant girl. This infidelity has resulted in Proctor no longer identifying with the honest reputation of his former self, a man who had a “sharp and biting way with hypocrites”, having effectively become one himself by violating the moral code impressed and instilled in him by his upbringing and surrounding culture. With no judgment coming from the ignorant Salem, and grudging forgiveness from his wife Elizabeth, Proctor is left to judge himself, as described by Elizabeth in Act II – “The magistrate sits in your heart that judges you.” Thus the Proctor first introduced to the audience possesses an extremely limited, if not
His plan even comes to Clarence in a dream and he still cannot see that Richard is the one who is behind him being in prison and for his death that is coming very soon. He blames his self for the deaths of his father in law and brother and believes that the dream is the evidence of his sins. “Ah, keeper, keeper, I have done these things that now give evidence against my soul for Edward’s sake, and see how he requites me! O God! If my deep pray’rs cannot appease thee, but thou wilt be avenged on my misdeeds, yet execute thy wrath in me alone.
He then increases his feigned madness. Guildenstern reports to the queen afterwards, saying that Hamlet “with a crafty madness, keeps aloof”. Hamlet is called to his mother’s chamber and while there he admits that “I essentially am not in madness, but mad in craft” (III, IV, 187-188). He is being crafty by hiding in madness to keep people off
Hamlet is angry with Ophelia and in rage, he tells her that her beauty is dishonest and that he did love Ophelia once and at the same time, he never did. He then tells her that she should enter a nunnery instead of breeding sins i.e. having children. This is known from the lines, “Get thee to a nunnery. Why wouldst thou be a / breeder of sinners?
This is a far more delicate way of saying if you end up with ignorance you were not highly favored by God, but if you have knowledge you were and will be favored by god and will end up in heaven. Ignorance is similar to a song written by Mumford and son “Babel” which is the examination of the bourgeois mindset. They comment on the pelagian nature of society, they are building their own 'tower of babel' because they see the society collapsing behind their progressive thought, "I write home laughing, 'look at me now,' the walls of my home come crumbling down." He "goes along" with this mindset; all his life his "greed and pride" has been nursed by society and he accepts this mentality for its face value. He is promised success, which they will "slip into the cloud."
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
Cordelia takes on this role by unconditionally loving her father and furthermore forgiving Lear for banishing her, which is seen when she says “No cause, no cause.” (4.7). Edgar takes on a similar role by forgiving his father for going against him when he was tricked by Edmund and taking care of Gloucester in his blindness at the end of the play. The other characters, however, give into temptation and sin more frequently. Pride, for example, is a prominent sin that affects many characters, Lear being a prime example. Lear's pride keeps him from listening to the advice of Kent, the king's most loyal follower, after he banishes Cordelia and admitting he may have been wrong.