Criticism on Hamlet
**HAMLET** [189] Act I. Scene i. (I. i. 63.) He smote the sleaded Polack on the ice. Polack was in that age, the term for an inhabitant of Poland: Polaque, French. As in a translation of Passeratius's epitaph on Henry III of France, published byCamden : Whether thy chance or choice thee hither brings, Stay, passenger, and wail the best of kings. This little stone a great king's heart doth hold, Who rul'd the fickle French and Polacks bold: So frail are even the highest earthly things. Go, passenger, and wail the hap of kings. Act I. Scene i. (I. i. 138.) If thou hast any sound. The speech of Horatio to the spectre is very elegant and noble, and congruous to the common traditions of the causes of apparitions. Act I. Scene i. (I. i. 153 foll.) Whether in sea or fire, &c. According to the pneumatology of that time, every element was inhabited by its peculiar order of spirits, who had dispositions different, according to their various places of abode. The meaning therefore is, that all spirits extravagant, wandering out of their element, whether aerial spirits visiting earth, or earthly spirits ranging the air, return to their station, to their proper limits in which they are confined. [190] Act I. Scene ix. (I. v. 154) Swear by my sword. Mr. Garrick produced me a passage, I think, in Brant ôme, from which it appeared, that it was common to swear upon the sword,
How did Shakespeare create tension in act 1 scene 5 of Romeo and Juliet
How did Shakespeare create tension in act 1 scene 5 of Romeo and Juliet ? Romeo has just gate crashed on the Capulet party and no one knows that he is at the party and if he is found by the Capulet he will most likely be killed because of Romeo being a Montague this because earlier in the play the Montague's and Capulet have a fight. Romeo see Juliet and say "snowy dove trooping with crows" (act 1 scene 5) this tells us that romeo thinks that Juliet stands out from every other person. Tybalt hear Romeos voice and he know romeo is not meant to be at the Capulet party. Tybalt wants romeo gone but lord capulet stops him and tells him off "why, how now, kinsman, wherefore storm you so?..."(act 1 scene 5) he holed this against romeo and wants retribution and calls romeo a "villain" (act 1 scene 5) this time this was a very offensive word to be called. While tension increases romeo and Juliet meet and fall in love the share kisses and proclaim there feelings for each other and how ever they do not realise that they are sworn enemies. The Capulet despise the Montagues' who they have been at war since "ancient times" (prologue) so when the nurse tells Juliet that Romeo is the some of her fathers "great enemy" (act 1 scene 5).this adds to the tension in the play. Immediately after Romeo asks what is her mother and a nurse replies Juliet's mother is "the lady of the house." (act 1
RICHARD II KEY LITERARY ELEMENTS SETTING Richard II is located in various parts of England and Wales.
RICHARD II KEY LITERARY ELEMENTS SETTING Richard II is located in various parts of England and Wales. The tournament scene (Act I, Scene 2) is at Coventry, in the Midlands. Bolingbroke, although coming from Brittany, in France, lands on the north coast of England and undertakes the tediously long march southwest through the Cotswolds to Berkeley and on to Bristol. Richard returns from Ireland and lands at Barkloughly. He moves in a northwesterly direction towards Flint Castle, where he encounters Bolingbroke. The climactic scene takes place in Parliament in London. Then Richard is sent to the prison of Pomfret Castle, which is in Yorkshire. CHARACTERS Major Characters King Richard - Richard, the play's protagonist, is a poetic and intensely charming man, but a fatally weak monarch. His unshakable faith in his own quasi-divinity constitutes his tragic flaw, as does his bad judgment. He enjoys the role of performer, and after he is deposed, he casts himself as a martyr. Henry Bolingbroke - Bolingbroke is the Duke of Hereford and the son of John of Gaunt. After the latter's death, he becomes the Duke of Lancaster. Bolingbroke is a practical and ambitious man who replaces Richard on the throne. At the beginning of the play, Bolingbroke believes in the divinity of kings and in the need to obey them, regardless of their cruelty. He
Scene by Scene - Hamlet.
Scene by Scene "Revenge should know no bounds." -- Claudius Hamlet, our hero, is the son of the previous king of Denmark, also named Hamlet ("Old Hamlet", "Hamlet Senior" as we'd say), who has died less than two months ago. Hamlet remembers his father as an all-around good guy, and as a tender husband who would even make a special effort to shield his wife's face from the cold Danish wind. The day Hamlet was born, Old Hamlet settled a land dispute by killing the King of Norway in personal combat. How old is Hamlet? We have contradictory information. The gravedigger mentions that Hamlet is thirty years old, and that the jester with whom Hamlet played as a child, has been dead for twenty-three years. An thirty-year-old man might still be a college student. However, Ophelia is unmarried in an era when girls usually married in their teens, and several characters refer to Hamlet's "youth". So we might prefer to think that Hamlet is in his late teens or early twenties. And many people have seen Hamlet's bitter, sullen outlook at the beginning of the play as typical of youth. You'll need to decide that one for yourself. (I think "thirty" might be a mistake for "twenty". Richard Burbage, who played Hamlet first, was older than twenty, and perhaps the editor thought "twenty" must be wrong. You decide.) Hamlet was a college student at Wittenberg when his father died. (Of course
the tempest stage
Staging of The Tempest It is clear that The Tempest depends for much of its success on a wide range of special effects such as sound, lighting, and fantastic visions of the natural and supernatural worlds. Ariel, the mystic spirit, and his cohorts provide some eerie and some wondrous musical sounds, painting pictures with their voices of settings the audience saw. For example, when luring the spellbound Ferdinand towards his future wife, Miranda, Ariel and his fellow sprites caress the shipwrecked prince with harmonious notes which captivate even the crowd. In contrast to hearing Ariel's delightful melodies, Sebastian, Alonso, Antonio, and Gonzalo receive a very different message. When the four men attempted to feast on a faux banquet Prospero has designed, claps of thunder and red lighting consume the stage and faint noises come from Ariel and the spirits, disturbing the men and scaring the spectators. Aside from music used as a median to bring about the supernatural effects of the island, Prospero's presence instigates a change of mood throughout the island and audience because he is, in essence, the artist who creates the stage. When Prospero is first seen he is a forceful figure who not only controls the mystical island which he and his daughter inhabit, but also has authority over Caliban, a brute indigenous "monster" and Ariel, an "airy-sprite" who Prospero
Analysis of Act I - Hamlet
Analysis of Act I The play begins with a pair of contrasting scenes; one showing men who are helpless against the storm they believe to be nature's wrath, and one showing the storm itself to be merely the work of an illusionist, trying to reclaim his place through his magic. In the first scene, the boatswain suggests that men, despite their power, are still subject to nature; "what cares these roarers for the name of king," he asks, when the king's ship is being pummeled by the storm (I.i.16-17). The boatswain's statement makes sense in the context of that scene; however, it becomes ironic in the second scene, when Miranda and Prospero reveal that it was Prospero himself who caused the storm. Antonio and Sebastian's behavior also reveals the brutish, unkind characteristics that mark them throughout the play; Antonio's depiction in this scene gives credence to Prospero's traitorous depiction of his brother that comes out when he tells Miranda about the wrongs perpetrated against him. The first impression of Gonzalo is not quite as correct as those of Antonio and Sebastian; he abets their affront of the boatswain, and shows little of the honesty or kindness which he exhibits later in the play, or for which Prospero remembers him. Also, Antonio and Sebastian's diffidence toward the boatswain on account of their status is the first demonstration in the play of social
Merchant of Venice Notes
Act I-Scene 1 Walking along a street in Venice, Antonio (the "merchant" of the title) confesses to his friends Salarino and Salanio that lately he has felt unaccountably sad. They have noticed it, and they suggest that Antonio is probably worried about the safety of his merchant ships, which are exposed to storms at sea and attacks by pirates. Antonio denies this and also denies that he is in love, a possibility that both of his friends think might explain Antonio's pensiveness. Salarino concludes that Antonio's moodiness must be due simply to the fact that Antonio is of a naturally melancholy disposition. At this point, their friends Bassanio, Lorenzo, and Gratiano join them, and after an exchange of courtesies, Salarino and Salanio excuse themselves. Gratiano takes a long look at his old friend Antonio and playfully chides him for being so solemn and so unduly silent. Gratiano says that he himself never has "moods"; in contrast to Antonio, Gratiano is determined to always "play the fool." Lorenzo intimates that sometimes Gratiano is too much the fool-that is, he is too loquacious. He and Gratiano depart, promising to meet the others at dinner. Left alone with Antonio, Bassanio assures him that he should not worry about Gratiano's critical remarks. Antonio then changes the subject abruptly; he asks Bassanio for more information, as promised, about the certain lady to whom
Shakespeare uses this theme of different kinds of love to show the many different situations that can arise from these different kinds of love, and henceforth lead the audience to think deeper and ponder upon the wonders of the different kinds of love....
Discuss the different kinds of love presented in the play. Twelfth Night, in itself, portrays many hidden meanings and themes that speak out to different people, in different ways. Shakespeare makes use of the many characters, and choreographs different steps and creates relationships and the plot, and sub-plot, to make Twelfth Night complete, with its many themes. One of the central messages of this play is prominently, love. With this main theme, Shakespeare creates an interesting plot and sub-plot, to entertain, and also provoke his audience to think hard, and allow them to decide for themselves, which kind of love is one that they would choose in their own lives. Different kinds of love, such as in love with the idea of love, imaginary love, self-indulgent love, self-love, or true, sacrificial love are displayed in this play. Shakespeare uses this theme of different kinds of love to show the many different situations that can arise from these different kinds of love, and henceforth lead the audience to think deeper and ponder upon the wonders of the different kinds of love. "What you will", could probably be speaking out to the audience as well, to carefully think about which type of love impresses upon them most, and allow the audience to choose for themselves, what applies to them the most. One of the main types of love portrayed would be romantic love. Romantic
Whos there? Theatrical review.
"Who's there?" Immediately the play has an impact on the audience. There is suspicion from the very first line, making us wonder what is there? The scene is set as a cold dark night, as characters Bernardo and Francisco guard the castle of a country which is preparing for war. They've been frightened from something extraordinary, and tonight ask Horatio to accompany them. From the first act, we can see these sentries value Horatio's opinion and obviously trust him. However we question why Horatio has been the only one confronted on this issue. Why is there so much secrecy? For a country on the brink of war, is a bad omen for Denmark? We are already involved in this scene, and it's important that Shakespeare uses a dramatic first scene to catch the audience's attention straight away. At the point where the Ghost enters, the drama heightens and Horatio questions the ghost, when he sees he's took the form of the late King Hamlet. "It is offended" Marcellus says, as the Ghost disappears. Now we wonder what does the ghost want, and what is its purpose? It doesn't seem to be speaking to the person the Ghost wants, as we realise when the Ghost appears once more and Horatio questions it once more. "If thou art privy to thy country's fate, Which, happily, foreknowing may avoid, O Speak;" Here suspicion and secrecy are linked, as Horatio is suspicious of the Ghosts nature, and
Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power
A2 English Literature Holiday Homework Assignment: for Mr Majewski: The Tempest by William Shakespeare and Translations by Brian Friel "Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power." The modern linguist Norman Fairclough said, "Language is power", implying that if you want to control a person or people, an event or series of events, or indeed the entire world, and have power over it or them, you must first control language. Controlling language is the key to both the initial act of gaining power, and then maintaining that power. We find examples of this throughout The Tempest and Translations, which share common themes and elements. To tackle a question which requires suggesting how the writers link language and power, it is necessary to look at the plays in just such a thematic way. The first and most obvious area in The Tempest where language is linked with power is the way in which prose and verse is used by different characters to different effect. Most notably, and especially for it's irony, Caliban's use of verse when Stephano and Trinculo talk in prose reverts the old ideas of rank, whereby people of higher status, (here supposedly the King's butler and the jester) spoke in verse, and lower classes (the uncivilised Caliban) spoke in prose. Style shift refers to
