Dream Sequences
Dream Sequences in Rudolfo Anaya's BLESS ME, ULTIMA There are always some reasons behind the election of one or another topic about which is going to be focused an essay of these characteristics. It is because of this that it seems to me proper to begin with a sort of explanation of why I felt attracted by the theme of dreams in this Anaya's novel. Something that will drive me to the latter analysis and development of dreams; their function, meaning, evolution and finally a conclusion that would synthesize this theme within the whole novel. The reasons were maybe very common: I thought that there was something hidden behind these dreams, that they could have a function, that it might be that Anaya used them influenced by some psychological movement (like Freud, for instance). So I was interested in answer all these questions and prove all my founded suspicions. Some of them were more or less clear just at the beginning of the book (it was obvious that the first Antonio's dreams have some meaning, at least for him, because they foreshadow the future or offered a clear vision of the past) While other of my suspicions were not so clear and needed some investigation to be done. The fact is that I was only at the beginning. And I knew I was going to find more dreams. Were they going to be like the first?. So from these inquiries arose my research process, and the result is
How is The Merchant of Venice like a soap opera?
How is The Merchant of Venice like a soap opera? The majority of people in Britain adore soap operas. They habitually watch them, read magazines dedicated to them and talk incessantly about them. They discuss the characters as if they were real and get involved with the storylines. When a character is killed off or written out, the general public reacts as if the character is a close friend or acquaintance. The Merchant of Venice is often described as the first ever soap opera as its structure is equivalent to a modern day episode of Eastenders. Elements of the play are similar to a soap opera, such as the way it raises issues and themes in the same way that many soaps do. It has even been said that if Shakespeare were alive today, he would be a scriptwriter on Eastenders. However, it is questionable whether the scriptwriters on this soap, who include Helen Blizard and Simon Ashdown, would be comparable to a playwright of the quality of Shakespeare. In the way soaps raise issues and themes so does The Merchant of Venice. One theme is money. Shylock's obsession with money is obvious from the start as his first line is, "Three thousand ducats, well." This dedication to money is one of the main character traits of Shylock. When his daughter runs off with her father's jewels, and Lorenzo, a Christian, Shylock is more concerned about the loss of his jewels than the loss of
Shakespeare's 'The Merchant of Venice' is a comedy with a difference.
** Consider the play as a tragicomedy Shakespeare's 'The Merchant of Venice' is a comedy with a difference. It was written almost certainly between 1596 & 1598. The play is classed as one of the 16 comedy plays but it is also a 'problem' play due to the tragic elements woven throughout the intricate plot. The play concludes with a harmonious ending but all through the plot, reoccurring themes of sadness and tragedy are included. In terms of dramatic structure, "The Merchant of Venice" is undoubtedly a comedy. It follows the typical upward trajectory of comedy (beginning complication to ending resolution}. Act 1 introduces the plays main complication, but it also sets the tone for comic expectation by establishing upward rhythm of comedy in each of its three scenes. Antonio and Portia's melancholy are shortly alleviated by appropriate distractions & hope. Bassanio hopes to thrive, Antonio tries to help his friend, Portia will not have to worry about being chosen by the suitors she has mocked. Bassanio and Antonio get what they mistakenly but happily think is a friendly loan and Shylock mistakenly and happily, he has hit upon a winning scenario. After the opening act has set the rhythm and expectation of comedy, there is increasing fluctuation of the rising and dashing of hopes because of the various characters choices. Raised hopes and satisfaction however outweigh dashed
Bless Me, Ultima
Bless Me, Ultima Religion is a major theme in the story Bless Me, Ultima. Throughout the novel, Tony is faced with different beliefs and traditions that he can live by, and he is often confused about which path to follow. As he grows and is exposed to new people and things, he frequently questions his belief because he sees that there are other paths he can follow. This confuses him because deep inside he knows that he wants to follow God because he is afraid of believing in anything else. Tony's exposure to Catholicism, Ultima's traditions, and his friend's belief in the golden carp contribute to his growth throughout the novel. Tony's mother is a strict catholic and has raised Tony to follow catholic traditions. She hopes that Tony will one day become a priest and she encourages him to follow the way of the Catholic Church. When Ultima moves in, Tony's eyes are opened to a new system of beliefs and superstitions. Ultima has powers that Tony has never seen before and he is confused when his uncles look to her to cure his uncle Lucas. He has been taught that God is the only way and so he is confused that Ultima's power can cure his uncle but God's cannot. Tony's friend also introduces him to his belief in the golden carp. For Tony, this is another path he could chose to follow and his friend is very convincing. The story he tells makes sense to Tony but Tony knows he cannot
Critical assessment of Trevor Nunn's Twelfth Night and Michael Radford's The Merchant of Venice
Critical assessment of Trevor Nunn's Twelfth Night and Michael Radford's The Merchant of Venice In this essay I will critically assess two adaptations of Shakespeare plays; Twelfth Night directed by Trevor Nunn (1996) and The Merchant of Venice directed by Michael Radford (2004). Both performances use famous British and American actors. Both plays confront the idea of girls dressing as boys, which was common theme in Shakespeare's plays also used in As You Like It and used in Shakespeare in Love as a fictional a basis for Shakespeare's Twelfth Night. This essay will explore the character representation and mise-en-scene of each film. Twelfth Night was directed by Trevor Nunn and made in 1996. It was filmed entirely in Cornwall. The costume and set it simple there is little to distracted the viewer from the story. The music used in Twelfth Night is quite varied there are military extracts used for Sebastian and when Sir Andrew picks a fight with Cesario and more romantic parts for Olivia. All of the non-diegetic sound is instrumental but songs sung by Feste, the fool are also used onscreen as diegetic music. Viola is, in this film played by Imogen Stubbs, represented as a rather weak character. In the play I believe she is meant to be a conventional Shakespearean strong female character, because of the weakness of her character, Cesario is more effeminate than I believe
William Shakespeare was at the peak of his career during the reign of Elizabeth I.
William Shakespeare was at the peak of his career during the reign of Elizabeth I, at the time England was at the climax of its power, having a large empire strong trade, a great naval fleet and many explorers who were forever discovering new lands. It was a time of travel and discovery, as well as improving culture and accumulating a more vast wealth; this period is also referred to as the renaissance period. It was a time of being ostentatious and exploring the unknown, which is what William Shakespeare did quite a lot of in his writings. William Shakespeare wrote plays that generally fit into three categories: comedy, tragedy and historical. 'The Tempest,' was written during the reign of James I and was the last play that he wrote before he died. It is a lot more experimental than anything else he wrote, which is probably why it does not fit into one play genre but two and is known as a tragicomedy. The language in this play is a lot more specific and modern than his other works and it is almost like he was saying goodbye when he wrote the play, knowing that he was nearing his end. The Tempest is a play all about a group of aristocratic men who are stranded on an island. The island is deserted save from the usurped duke of Milan, his daughter and a low cast creature called Caliban. The play tells the tale of how the ex-duke of Milan gets his revenge on the duke of
Shylock: Villain or Victim in the Merchant of Venice
Jeremy Rodriguez English 152 "Merchant of Venice" 3-6-00 SHYLOCK: VILLAIN OR VICTIM In the "The Merchant of Venice," all of the characters can be viewed from a variety of perspectives. The perspective that one takes therefore directly influences one's point of view on that character. No character fits this theory more than Shylock. Shylock, and his role as a Jewish moneylender, has been analyzed from many different perspectives. He is viewed as a villain by some, a victim by others, but a man to be pitied by both. On the surface Shylock appears to be cruel and unforgiving. However once one begins to analyze the play he begins to find out the "whys." To figure out these "whys" one must thoroughly research both sides of the argument as to whether or not he was a victim or villain. Once one does this they are able to come up with their own educated and valid opinion about this complex character. When one first gets done reading "The Merchant of Venice" a feeling of dislike for Shylock emerges on the reader. He appears to be the major antagonist of the play. He is cunning, unmerciful, and greedy. His cunning capabilities are first seen when he makes the deal with Antonio. He says, "Let the forfeit be nominated for an equal pound of your fair flesh, to be cut off and taken in what part of your body pleaseth me" (Act I, Scene 3). Antonio, thinking that Shylock is either
How does Shakespeare present the relationship between Antonio and Bassanio in The Merchant of Venice?
How does Shakespeare present the relationship between Antonio and Bassanio in The Merchant of Venice? In Elizabethan society it seems that although gender roles were expected to be fixed and distinct, sexuality was far more fluid than the strict categories which we impose on it now. It was commonly known for men to have male 'bed-fellows' and, with Queen Elizabeth's liking of the Petrarchan form of address, it was not unusual to express these friendships in terms of love. It is obvious throughout the play that Antonio and Bassanio have a great affection for one another. Antonio is willing to lend money to Bassanio even though he is likely to squander it on his lavish lifestyle. There has been a history of debt through which Bassanio has 'disabled [his] estate,/ By something showing a more swelling port/ Than [his] faint means would grant continuance' (I.i.123-5).1 The fact that Antonio is still prepared to wager everything for his friend despite his proven record suggests that this may be the act of one in love, rather than of an objective friend. The theme of love as an economy runs throughout the play. Bassanio, despite having a rather childlike attitude towards money, seems to appreciate the loan from Antonio, saying, 'to you Antonio/ I owe the most in money and in love' (I.i.130-31). It is interesting that the word 'money' precedes 'love'. This seems to show
Discuss Your Response to Shylock in the Light of Secondary Sources.
Gabriela Belmar-Valencia 12CA 30th November 2002 Discuss Your Response to Shylock in the Light of Secondary Sources "The Merchant of Venice" was first performed in 1597 and the four hundred year period between then and the present day has seen many diverse portrayals of Shylock. Shylock, over the years, has changed from a comical monster, to a complex villain, to a sympathetic victim, each era developing a different aspect of Shakespeare's villain. Shylock provokes a response of fascination and respect. He is a complex villain, a twisted product of an anti-Semitic society whose personality has been reduced to malevolence and vengefulness through the ill-treatment he has suffered at the hands of the frivolous and superficial Venetians. He clings devoutly to his Jewish faith while cleverly scheming revenge against those who have wronged him. Shylock's intellect shows that he is above the derogatory names and petty insults heaped upon him by the Venetians. He is eloquent and calm, losing control only once in the play when he misses his daughter and cries out "Oh my daughter! O my ducats!" He makes powerful speeches demonstrating an intellect that wins the audience's respect when he challenges the Gentiles by asking "Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions?" Shylock is also remarkably clever
"The interest of the drama expires with the fourth act" How far do you agree with this assumption that the life and death of the Duchess is the predominant focus of interest for the audience?
"The interest of the drama expires with the fourth act" How far do you agree with this assumption that the life and death of the Duchess is the predominant focus of interest for the audience? The view as expressed in the question can only be answered after defining the importance, and role, of the Duchess and also whether the other characters are not equally as important. It presumes that she is only influential while she is alive. The idea as expressed by Pratchett in Reaper Man "No one is finally dead until the ripples they cause in the world die away... the span of someone's life they say is only the core of their actually existence" is one that I feel is applicable to the questions and one I shall endeavour to explore. The interest that is inherent with the Duchess I feel lies within the complexity and controversy of her character: Her feministic view to life seen in her valiant effort to remain in control amidst her brothers, "Whether I am doomed to live, or die, I can do both like a prince". She marries for love, "when I choose a husband I will marry for your honour" and is the aggressor in choosing Antonio about for a mate "we are forced to woo because none dare to woo us". A strong female role is uncommon outside comedies and so dominant, monarchic role of the Duchess would have attracted attention. The Duchess could have been seen as an allegory for Elizabeth I;