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
In the wars, Robert Rose is a very significant character.
The Wars In the wars, Robert Rose is a very significant character. He is determinate, brave and intelligent. He is a person who has a clear mind during the wartime. He understands life and meaning of life better than other soldiers in the war. As a man, he is always fighting for what he believes is true. He is that kind of person who does whatever he likes. He loves running. In fact, he loves everything that is challenging. He prefers to fight with some one powerful. However, he is selfish and arrogant. He could not ever stand others discriminations and criticizes. He has a great sense of leadership, but he could hardly accept others¡¯ opinion. He is very determinate and sensitive. Both of these personalities are his strength and weakness. His determination helps him to survive in the battlefield, but pushes him to keep going when he should stop. His sensitivity makes him a good leader and a pleasure comrade, but also pushes him into the deepest position ever in his life. He could chase behind an animal for such a long time without any strange feelings. Just like Taffler, he gets into violent homosexual behavior as well. Timothy Findley pieced The Wars together much like a puzzle. When piecing together a puzzle it is crucial to first find the corner pieces. As when trying to understand the novel it is necessary to realize what the most important aspects are. Each separate
19th Century Mystery Stories Coursework
9th Century Mystery Stories Coursework The 19th century writers create an atmosphere of mystery and suspense by including some key factors such as; the inclusion of a good plot, the building up of suspense and tension, the setting, sometimes also the type of narrative can add to the feel of such a story. Using The Red Room, The Signalman and The Pit and the Pendulum as examples will give us a good idea of what it is that really makes a good mystery story. Firstly we can look at the The Red Room and look at the setting. The time of the day is a key thing to consider, and in the Red Room we know it is set at night, which is a time of crime and unnerving happenings, it is a time when shadows are formed and night is also usually associated with supernatural events. It's at night when everything is mysterious, scary and makes him unsure about himself. It also creates doubts in his mind and slowly but ultimately as we see it takes away his confidence, and he becomes completely unearthed by the happenings in the red room. We see a lot of repetition of words like "dark", "candle light", "fear". For example "Monstrous shadow of him crouched upon the wall..." "Moonlight" in horror, mystery and ghost stories has a great impact on scenes of the story because it is associated with werewolves especially, but also adds to the dim lighting conditions in a dark environment. This is used to
Argue that the theory of common sense structures provides an important and hitherto unappreciated link between early Gestalt psychology on the one hand and contemporary developments in philosophy and in artificial intelligence research on the other.
Introduction In the works of Aristotle or of the medievals, as also in the writings of later common-sense philosophers such as Thomas Reid or G. E. Moore, we find a family of different attempts to come to grips with the structures of common sense and of the common-sense world that is given to us in normal, pre-theoretical experience. We shall argue in what follows that the theory of such structures provides an important and hitherto unappreciated link between early Gestalt psychology on the one hand and contemporary developments in philosophy and in artificial intelligence research on the other. The notion of providing an adequate theory of the common-sense world has been taken seriously of late above all by those, such as Patrick Hayes or Kenneth Forbus, who see in such a theory of what they call `naive' or `qualitative physics' the foundations of future practical successes in robotics.(2) This naive physics is, however, like cognitive science in general, in a state of flux, and a serious philosophical investigation of its presuppositions and achievements has hardly been attempted. Yet it is already at this stage possible to point to a certain apparent defect or one-sidedness of current research in this field that is due to the predominant assumption that it is set theory and related instruments of ontology that are to provide the basis for naive-physical theorizing. The
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
GEORGE ORWELL A comparative study of Burmese Days, Animal Farm and Nineteen Eighty- Four
GEORGE ORWELL A comparative study of "Burmese Days", "Animal Farm" and "Nineteen Eighty- Four" Biography Eric Arthur Blair (later George Orwell) was born in 1903 in the Village Motihari, which lies near the border of Nepal. At the time India was part of the British Empire. His father, Richard Blair, was an agent in the Opium Department of the Indian Civil Service. Eric's mother, Ida Mabel Blair was about eighteen years younger than her husband. Eric had an elder sister called Marjorie. The Blair's had a relatively priveleged and fairly pleasant existence. Orwell later describes them as "lower-upper-middle class". They owend no property and had no extensive investments. They were like many middle-class English families of the time. In 1907 moved with his mother and his sister to England. Richard Blair stayed in India. With some difficulty, Blair's parents sent their son to a private prepartory school in Sussex at the age of eight. At the age of thirteen he won a scholarship to Wellington, and soon another to Eton, the very famous public school. Since the age of five or six, he had known that he would be a writer. He neglected to win a university scholarship, and in 1922 Eric Blair joined the Indian Imperal Police and was trained in Burma. He served there for nearly five years but he resigned in 1928. There have been at least two reasons for this: firstly, his life as a
A Steercar Named Desire - Blanche's Psychological Breakdown.
A Steercar Named Desire - Blanche's Psychological Breakdown In Tennesse Williams' play, "A Streetcar Named Desire" the readers are introduced to a character named Blanche DuBois. In the plot, Blanche is Stella's younger sister who has come to visit Stella and her husband Stanley in New Orleans. After their first meeting Stanley develops a strong dislike for Blanche and everything associated with her. Among the things Stanley dislikes about Blanche are her "spoiled-girl" manners and her indirect and quizzical way of conversing. Stanley also believes that Blanche has conned him and his wife out of the family mansion. In his opinion, she is a good-for-nothing "leech" that has attached itself to his household, and is just living off him. Blanche's lifelong habit of avoiding unpleasant realities leads to her breakdown as seen in her irrational response to death, her dependency, and her inability to defend herself from Stanley's attacks. Blanche's situation with her husband is the key to her later behavior. She married rather early at the age of sixteen to whom a boy she believed was a perfect gentleman. He was sensitive, understanding, and civilized much like herself coming from an aristocratic background. She was truly in love with Allen whom she considered perfect in every way. Unfortunately for her he was a homosexual. As she caught him one evening in their house with an
Ode To A Nightingale/ Ode On A Grecian Urn - comparison
Ode To A Nightingale/ Ode On A Grecian Urn John Keats's "Ode to a Nightingale" is intricate in detail whilst maintaining its ability to allow many different readings from its readers even whilst its own statements are quite precise. One very common reading of the ode is to see the nightingale as a symbol of poetic inspiration and fulfillment. This is displayed by Keats's descriptions of the nightingale and his use of imagery that links closely with that of inspiration. Thus, the poem is interpreted to be Keats's quest to find inspiration and go beyond human boundaries. Another reading of the same poem, which suppresses the symbolic role of the nightingale and focuses more on the strong paradoxes evident throughout the poem, is that of Keats's desire to lose himself completely in an experience of happiness by the effort of his imagination, however, this renders reality more painful by contrast and this experience can be only maintained momentarily before reality sets in again Keats's "Ode to a Nightingale" can fittingly be interpreted as a metaphorical text on the nature of poetic inspiration and the poet's quest to become one with inspiration as historically, birds have always been ideal as symbols of inspiration. The way Keats describes the nightingale plays a central part to this reading of the poem. In the first stanza, Keats describes the bird as a "light-winged Dryad of
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
