Much Ado about Noting
Claudio the Courter William Shakespeare's Much Ado About Nothing is often seen as one of Shakespeare's most comical plays but while it is comic it also has some disturbing elements. It is often seen as a 'tragicomedy' rather than a pure comedy because it raises the possibility of a tragic ending. Although the play ends in a comedy, its disturbing elements still leave a mark with the reader, a mark which has led to criticism against the character of Claudio. Throughout the play, the disturbing elements increase in number and degree as Claudio's character is unravelled. Whenever Much Ado About Nothing is seen as a disturbing play, Claudio is generally seen as the reason why. As the play begins, Claudio is seen as a returning war hero as well as an honest lover but he later turns into a shrewd fortune hunter. He is introduced as the "right noble Claudio" by a Messenger as he enters "in the company" of the Prince, Don Pedro, as they return from a victorious war. (6) He then speaks to Benedick about his love towards Hero, the governor Leonato's daughter. He notes her as a "jewel" as well as the "sweetest lady [he] hath ever seen."(11) After that he professes his love for her to Don Pedro. But this is followed by his first question, "Hath Leonato any son?" to which Don Pedro correctly replies "No child but Hero; she's his only heir."(13) Claudio followed by asking then asksDon
Gendered Hierarchy in Paradise Lost. Gendered Hierarchy is something that John Milton very much enforces within the poem. However, he gives Eve a different perspective.
Mariel Aguilar English 20A Section Giulia Hoffman/ Haggerty 0-26-09 Gendered Hierarchy in Paradise Lost Gendered Hierarchy is something that John Milton very much enforces within the poem. However, he gives Eve a different perspective. Although, he continuously implements patriarchal doctrine, Milton gives Eve an unexpected self-ponderous mind that sets off her distinct identity. During the time this poem was written there was a significant gender difference. Women were considered inferior than men and therefore were submissive to their views and laws towards them. However in this poem, Milton brings about an interesting dispute on the impression we have towards Eve. When Eve is first mentioned, he emphasizes on her wondrous mind, her appetite for knowledge and self-indulgence. Nonetheless nowhere in the poem is there a line that depicts her need for another. She's perfectly content with herself. "As she recounts the words spoken to her by God, she almost concludes that God made Adam for her, not vice versa, and that he instituted matriarchy, not patriarchy:" (Lewalski, p.470) "He, Whose image thou art, him thou shalt enjoy Inseparablie thine, to him shalt beare Multitudes like thy self, and thence be call'd Mother of human Race." Paradise Lost, p.91 4. 471-6 Consequently, Eve's mind begins to develop its own ideas on how it might be so that things were
Women in Measure for Measure
Measure for Measure is a play in which its 'primary topic is sexuality.'1 It promotes a mode of human sexuality, exercised within marriage and recognises that a denial of sexuality is damaging to the social order. It contains extremely limited roles for women, and all of them are focused around sexuality. 'Sexual behaviour is the only act that is considered... Claudio, Juliet, Overdone... are accused of such acts. And accused is the word: sexuality itself is a crime.2 There is a divide of two worlds; the first being that of morality where people are virtuous; the other is sexuality, where prostitutes reside and people have sex out of wedlock. The play focuses on the way sexual desire or the absence of it breaks off and postpones marriage, rather than promoting it, as it usually would; 'its two crucial actions are bouts of sexual intercourse, one a premarital impregnation, the other a form of attempted rape. From beginning to end, the dominant motive is the need to convert lustful fornication into fruitful married sexuality.'3 This is because a 'fruitful married sexuality' will not damage the social order, but reinstate it to a patriarchal order, where the men control the woman through marriage, and will be allowed to show their sexuality within the marriage under that control. The drama is set in Vienna where, 'Catholicism valued marriage highly, including it among the
Who is responsible for King Duncan's murder?
Who is responsible for King Duncan's murder? The tale "Macbeth" is one of relationships, betrayal, destruction and murder. A tale which is linked to every individual character. The question for my assignment is "Who is responsible for King Duncan's murder". I shall answer my question using character analysis, quotes, and points looking at two points of views. My essay question is quite complex and debatable to answer as there are many characters linked to the murder; Macbeth is not solely to blame. I shall focus on my suspects one by one. The three witches, servants of the devils, are very important because they open the play and tell Macbeth and Banquo their future which is partly the cause of the murder of King Duncan. My first suspects are the three witches. The reason for this is their dark prophecy for Macbeth: "All hail Macbeth that shalt be king hereafter" The witch's prediction gave an indication to Macbeth about the future. It told him that he will become king. This prediction made Macbeth wonder how he can get obtain the throne. Another prediction was made by the witch's: "All hail Macbeth hail to thee Thane of Cowdor" This prediction was also in Macbeth's mind and soon after it had come true, this is proof of the other predictions coming true and eventually they did, but it involved the murder of King Duncan which was carried out by Macbeth. However the
Mak in the Wakefield Masters The Second Shepherds Play, is not merely a conventional "trickster"
Kumari DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI INTERNAL ASSESMENT ASSIGNMENT COVER SHEET SEMESTER Ⅰ NAME OF THE STUDENT: ANUSHKA KUMARI COLLEGE: RAJDHANI EXAM ROLL NO.: 21055708017 PAPER CODE: 120351101 PAPER NAME: MEDIEVAL LITERATURE TITLE OF THE PAPER: The character of Mak in The Second Shepherds’ Play. DATE OF SUBMISSION: March 31, 2022 DECLARATION: I certify that this is my unaided work, and does not contain unreferenced material copied from any other source. I understand that plagiarism is a serious offence and may result in a drastic reduction of marks awarded for the term paper. This assignment has not been submitted, or any part of it, in connection with any other assessment. Full Name: Anushka Kumari Signature: ________________ Anushka Kumari Medieval Literature March 31, 2022 The character of Mak in The Second Shepherds’ Play. Mak in the Wakefield Master’s “The Second Shepherds’ Play”, is not merely a conventional "trickster" of the oral folk tradition, as the Rick Bowers observes “The Wakefield Master uses Mak to infuse comedy into a biblical event, but again he forms a functional character; the plot determines Mak’s role, which is memorable because of the realistic details used to flesh out his character type” (32). However, Mak’s actions and character go past the
The Wife of Bath
Neema Mngwamba ENG 230 CRN 11136 Fall 2010 The Wife of Bath. Unlike the 21st century, the Roman Catholic Church in the medieval time played a greater role in many peoples' lives. The church not only implemented but also enforced many laws that were strict and unpractical in today's world. Sexual practices, for instance, was one major issue controlled by the church. Sex as lust or pleasure was considered a sinful adherence to the body and to the material and profane world. It was merely to be used in procreation and only through marriage. The church also advocated virginity and chastity as the only way one could worship God with great perfection. Those that went against these laws were regarded as sinners in the eyes of God and therefore the society looked down upon them. The Wife of Bath, introduced by Geoffrey Chaucer in the Canterbury Tales, was one of the people who defied the traditional church views. Her attitudes toward sex upheld lust and pleasure while discouraging virginity. For the most part she used sex to exploit men and hence in modern sense does not enhance life and happiness. The wife of Bath was a lustful woman who loved attention and was not afraid to say what other women would not. In this aspect she was strong because she had the courage to challenge the male dominated medieval world and church. She was a widow who had been married five times before
How the first two scenes of Shakespeare's As You Like It and A Midsummer Night's Dream foreshadow the major themes of both plays
How the first two scenes of Shakespeare's As You Like It and A Midsummer Night's Dream foreshadow the major themes of both plays; specifically the political ones. It is important to enter the reading of any Shakespeare play with a little knowledge of the Divine Right of Kings. This belief was prevalent in Shakespeare's day, and was one to which he was devoted. Put simply, it was the belief that church and state were united unequivocally, that the coronation was sacramental and as such the king was all-powerful, answering only to God. Of Shakespeare's subscription to this belief, John Wain (1970) says, No one has affirmed the doctrine in more vigorous terms than Shakespeare. But equally, no one has scorched it with fiercer irony. (p. 27) Indeed, Shakespeare thrived on political comment, criticism and satire. From the scrutiny of the pastoral form in As You Like It to the fronting of law, class and social convention in A Midsummer Night's Dream. There are, of course, certain surface parallels between the two comedies; both plays are about relationships. Such similarities are understandable since both plays are believed to have been written around the same time, somewhere in the 1590s. They each start in similar veins; both open with a spirited family quarrel which will have strong repercussions as the plays progresses. As You Like It is about relationships between men and
On The Waterfront
"I could have been a contender," said Marlon Brando as he improvised his lines for his character, Terry Malloy, in the seven-time Academy Award winner film On the Waterfront (On the Waterfront). Marlon Brando used improvisation throughout the film to create a truly unique, unprecedented character. In the film, Terry Malloy transforms from a non-ambitious follower to a strong, independent hero. Terry Malloy's transformation is not credited to his own revelations but rather is driven by the role he has in Joey Doyle's death, his love for Edie Doyle, the strong pressure of Father Barry, and the eventual death of his brother, Charlie Malloy. At the beginning of the film, Terry Malloy is portrayed as a character without any drive in life. He devotes his time, energy, and passion towards his pigeon racing rather than a steady job. Marlon Brando takes it upon himself to imbue a further characterization of Terry's character. Terry is usually fidgeting with his hands in his pockets, playing with his hair, or his signature nervous gesture of putting his hand behind his head. He often looks away from the character he is talking to by finding another focal point such as the zipper on his jacket or a piece of lint. It is clear Terry does not have much direction or any assertive qualities. His first internal conflict in the movie is his unintentional involvement in Joey Doyle's death.
Women in Richard III
Richard III has an unusually large cast of female characters: 'women are assigned over 22 percent of the lines in this play, by far the greatest number in any of Shakespeare's English histories.'1 However, Nicholas Brooke has observed that 'the flexibility of private speech in this play is almost entirely confined to Richard'.2 This is through the power of his language. In the patriarchal society of the Renaissance period men were allowed freedom of speech, where as women were supposed ot be chaste, silent and obedient. During the Renaissance; Femininity... was presented as no more than a set of negatives. The requirement of chastity was the overriding measure of female gender. Woman not only had to be chaste but had to be seen chaste: silence, humility and modesty were the signifiers so.3 This means that if women were to be silent, then men would have total control; and therefore, language is gendered. None of the female characters have a soliloquy, even Margaret who is the most powerful female character. Jean E. Howard & Phyllis Rackin describe the women as the 'direct antitheses'4 of the men in the play, and that 'all of the female characters ...are highborn English women who speak in undifferentiated language, formal blank verse that constitutes the standard language of the playscript'.5 I disagree with this, as both Lady Anne and Elizabeth use Richard's style of prose
Othello. In this play, The Tragedy of Othello, The Moor of Venice by William Shakespeare, the title informs the reader of Othellos downfall. Yet, every now and then appears a humorous scene
Naiema Zaki-Hassan March 2, 2004 English 220 Comedy in Tragedy The title of a literary work is the first part that a reader glances. The reader will then make a prediction about what they suppose will happen. In this play, The Tragedy of Othello, The Moor of Venice by William Shakespeare, the title informs the reader of Othello's downfall. Yet, every now and then appears a humorous scene that if just for a moment uplifts the emotions of the reader. This leads them to hope that a romantic turning point might take place, like a fairy tale. The various social classes that were present in Shakespeare's audience, humor he acknowledged, can appeal to everyone regardless of where they exist in a social hierarchy. In this play, we witness the avertable fall of the main character Othello. The humor in this tragedy imparts hopeful moments by digressing us from what we expect. The play is generally told from the view of the antagonist Iago, yet we learn to sympathize with Othello. In what is supposed to be a serious tragedy of the downfall of Othello, these temporary moments of mocking and humor, gives us a sense of hope. After Othello "stole" Brabantio's daughter, Roderigo and Barbantio both draw their swords ready to attack when Othello replies "Keep up your bright swords, for the dew will rust them" (Shakespeare 59-60). This scene creates a mood that is different from our