Him being drunk in this scene allows Shakespeare to develop his character both positively and negatively through an example of malapropism. He mishears a question asked of him by Olivia and ultimately confuses the word ''lethargy'' with ''lechery.'' Although the result of this is comic, it is also quite a crude joke and is an example of 'bad comedy'. This shows that Toby has a rude, inappropriate side to him. The reader second guesses their first opinion of him and sees a selfish side to him, as he is drunk at his cousins funeral with no regards to other peoples feelings.
The use of constant melody lines, allows for a full and whole sound, giving the impression of a thick texture with no breaks. This is also evident in the Debussy Sarabande. Although it is an arguably sparse texture, with only two parts, the constant busy lines allow for a full sound, and it is only in bars 20-23 and 42-50 where we see a noticeable difference. This is shown by the lack of treble part in bars 20-23 and also the use of just chord accompaniment in bas 42 through to 50, aside from this we see evidence of a continuously dense texture, as shown that at most points there are no less than 5 singular notes playing at once. Also, in the Holbourne piece, the texture is clearly layered so that each part has a clear and regulated range, with very little crossing of parts.
In the story one may think of Minister Hooper as a hero because he is able to admit he has sinned. The veil was supposed to cause people to view Mr. Hooper as an idol. However, the veil turns Mr. Hooper into a symbol of evil causing him to further treasure in sin. The story begins with the Gothic element of mysteriousness in the subtitle, A Parable. A parable is a story used to teach a lesson.
By using “paralyzed by wonder” Abbey must mean that the dance was so fantastic that it captivated him and kept him unable to move (23). It shows his amazement because, though one has a negative connotation which suggests a negative feeling, and the other is positive, they are used to express an action that was so great that he could not stop watching, no matter how bad it was to invade one's privacy. Abbey could not help himself when it came to the snakes and he voiced his shame of himself invading their privacy, yet did not cease his observance. The contrast of the negative and positive connotations of words parallels the contrast of Abbey feeling shameful, yet continuing to watch. In the end, his awe and wonderment were so strong that they prevailed
Loneliness puts The Monster in a mentally unstable position. He believes that he is a monster for the reason being he was created by one. In comparison, Othello’s betrayal is demonstrated throughout the play, but especially through Iago when he confesses to the audience his plan to manipulate and destroy Othello’s love life with Desdemona. Although Othello trusts Iago with anything, Iago hates the “Moor” and is willing to do anything to destroy him. Iago feels that the best way to do so is by manipulating Othello telling him that his wife is cheating on him with Cassio, who Iago coincidently hates as well.
Kovalev loves to show off his good appearance to people, especially women, and get attention from them, which is proven by his repetitive mentioning of Madame Chektareva and Pelagea Grigorievna Podtochina throughout the story. However, when he loses his nose, his outgoing character is completely changed. Without his nose, he “must look at no one, and smile at no one” (Gogol, 5). It seems like his confidence springs from his nose. He could have asked for help to his acquaintances, but
The actors are definitely not the best you can get; in fact, they are far from it. They aren’t very in tune with how to pronounce different words. (Act3, Scene1, 68-69) Bottom: “This be, the flowers of odious savors sweet” Quince: “Odours, odours!” This quote shows the audience how funny this group of inexperienced actors is. Even more comical is the fact that the actors think that they will be able to impress the duke. This is kind of ironic because the actors are just regular village people, doing a play for the majestic duke.
He steers his course by the tiller of an immediate past and by the stars of an immediate future. It's this synchronizing of nature and fortune that soothsayers study, and that the witches in Macbeth know something about. We call it fate, which over-simplifies it. He pits himself no merely against the threat of hell but also against the enmity of "Fate" (as represented in the prophecies of the Weird Sisters): come, Fate, into the list, And champion me to th' utterance. He brags to his wife: But let the frame of tings disjoint, both the worlds suffer, Ere we will eat our meal in fear [.
Examine the role ‘the devil’ plays in both Othello and Dr. Faustus Dr. Faustus is a play by Christopher Marlowe which was first published in 1604. The play revolves around the central character of Faustus and his thirst for power and knowledge that leads him to sell his soul to the devil in exchange for twenty fours years’ service from Mephostophilis, a devil who carries out Faustus’s demands. The play focuses on the idea of the downfall of those who desire too much, and the damnation which falls on them. Othello, written by William Shakespeare and first published in 1603, is very much as different play to that of Dr. Faustus. Othello is the story of a Moorish general of Venice, whose life is torn apart through deceit and his own faults and insecurities, leading to tragedy.
Feste frequently causes amusement and makes the audience laugh; he also draws a realistic sense of Elizabethan society into the play. However, Feste is presented as a self-proclaimed ‘fool’, working under the status of a clown doing service for both Count Orisno and Lady Olivia, but when we allow ourselves to take a wider perspective of the text, we begin to discover that he is actually one of the most intellectually aware and it could be argued that he is the wisest character in the play, developing this idea of intelligence through his various displays of wit and duping of the surrounding characters. One rudimentary example of Feste’s intelligence is his implied knowledge of Viola’s true sex when he says “now Jove in his next commodity of hair, send thee a beard”. To an on looking character, this would seem as if Feste is simply making a joke about ‘Cesario’s’ lack of facial hair but between Feste and Viola, there would be a mutual understanding that he knows she is a woman, elaborating on the fact that Feste actually observes the affairs that occur between both houses and of each and every person associated with these residences. With regard to this observational quality, it is as if he does not want to reveal what he knows, in fear of losing his position as the ‘clown’ and only relates to this detail in a friendly banter between himself and Viola in Act 3 Scene 1.