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I believe Literature is the Mirror of the Society: Shakespeare's Hamlet.

2018-10-24T04:21:18.437-04:00

Shylock: The Victim of Merchant of Venice

2007-12-03T21:17:43-05:00

Shylock: Victim or Villain? I believe that Shylock is a Victim of what I feel are the tragic events and unfairness that has befallen him in this play, The Merchant of Venice. My first point is that Shylock was probably portrayed as a villain when this play was first written by Shakespeare between the years 1596 and 1598. We must keep in mind his audience usually had anti-Semitic views so their way of interpreting Shylock as a villain is based entirely upon the culture that they were brought up in. However I feel Shakespeare was a writer ahead of his time who wrote not only for the general public but for much more philosophical minds. These are in my views the definitive points of Shakespeare’s distinctive writing style – the interpretation the reader has is usually different, writing not only for the general audience but for great minds and of course being a writer ahead of his time I feel he knew we would interpret it differently to the audience in his time of living which is what interests me. Many great minds use Shakespeare’s works to refer as ‘proof’ of their theories, a good example is the psychologist Sigmund Freud who often referred to Hamlet in his explanation of the oedipal complex. I strongly feel Shakespeare was attempting to subtly show the unfairness and anti-Semitic views of people in his time. A famous part of the play where Shylock delivers his speech ‘Hath not a Jew Eyes? Hath not a Jew hands, organs, dimensions…’ ; asked rhetorically it emphasises that Jews are just as human as Christians and that when they have been abused their lust for revenge is no different to a Christian’s lust for revenge when he has been wronged. Yes it’s true if he wasn’t Jewish this story might have been very different but another way to look at this is that if Antonio, Bassanio and their party did not have such a strong fascist view on Shylock. Shylock could have easily been part of the community and would not have been the ‘villain’ he is portrayed as at points if he was just treated like a human being and not like an outcast of society. It is proved repeatedly that Antonio and has no remorse for his scornful actions against Shylock. In a certain two lines during the trial it listed: Shylock: You called me dog. Antonio: And I

Are Romeo and Juliet responsible for their own deaths?

2007-09-21T07:51:31-04:00

"Romeo and Juliet" a play written during the Elizabethan times by William Shakespeare, ends with the tragic deaths of a pair of star-crossed lovers, (Romeo and Juliet). Their unfortunate ends can be partially considered as their own fault although other events and people play significant roles. This essay will look at the factors such as Romeo's hastiness, the development of independence for Juliet, the different views on love for each individual and the feud between the two families and how these factors hastens the most unhappiest deaths. Romeo's extreme hastiness is what leads to his early death. One example is the agreement to marry Juliet on the night they met. Romeo did not think thoroughly about the idea and how it is going to affect both of their opposing families (Montague and Capulet). When he announced his decision to the Friar, the Friar immediately insists Romeo to take things " wisely and slow". Yet Romeo turns a deaf ear to that advice. He continues to act impetuously. There seems to be no reason for Romeo to rush back to Verona and promising to poison him when Balthasar told him that Juliet is dead. Romeo should have consulted the Friar for more details. It seems as though Romeo feels that the world is passing him, very quickly and there is no time for consideration and every decision must be made in a hurry. It is because of this belief that resulted Romeo being send into his early grave. However other people and events also plays a part in why Romeo acts in this particular way. When Juliet met Romeo her love for him changed her very quickly into an independent person. So quickly that it isolates her from any adult support, which in turns killed her. At the beginning of the play she is a responsible and obedient daughter. When asked to marry Paris Juliet’s reply was full of politeness and dutifulness. " I will look to like, if looking likely move. But no more will it endart mine eye" when Juliet met Romeo the love she had for him enables her to be more independent and willing to takes risks. When demand to marry Paris by lord Capulet, Juliet's reply was no longer the same as before. Her reply was full with disobedience and the intention of rebelling. " He shall not make me a joyful bride" "or if you

The Merchant of Venice

2007-09-12T15:38:09-04:00

Shylock’s behaviour is wrong, but understandable. With close reference to at least two key scenes examine Shylock’s historical and social position and his personal experiences within the play. How far do these scenes go to justify his actions? The main plot in ´The Merchant of Venice´ concludes in a court scene where a battle takes place between a Christian and a Jew. A loan of 3,000 ducats should have been repaid but now Shylock demands a pound of Antonio’s flesh taken from the area closest to his heart. To understand Shylock’s behaviour and to learn why he would rather have a pound of Antonio’s flesh than to take double the amount he is owed in exchange for mercy on his life; we must study Shylock’s historical and social position and his personal experiences within the play, this may then bring the reader closer to understanding Shylock’s actions and deciding if they are justifiable or not. At the beginning of the play a young man, who is rather careless with money, by the name of Bassanio approaches his merchant friend Antonio. Bassanio wishes to marry the beautiful, rich Portia whom he loves and will then enable him to pay off all his debts but Bassanio needs money for his trip to Belmont. Unfortunately, all Antonio’s money is tied up in his ships but he is willing to borrow the amount Bassanio needs and lend it to him. Act 1, Scene 3 is the scene in which Antonio approaches Shylock, the money-lending Jew, for 3,000 ducats on behalf of Bassanio. In Shakespearian times Christians were forbidden from lending money with interest, they thought it was against God’s will but the Jews thought the opposite; so Shylock’s job, lending money with interest, is one of the few jobs that a Jew would have been permitted to have. From the moment Antonio enters the room Shylock makes it clear that he does not like Antonio, but his hatred goes deeper than religious differences, as Shylock says in line 37´I hate him for he is a Christian, but more for that in low simplicity he lends out money gratis and brings down the rate of usance here with us in Venice´. This line tells us that Shylock does hate Antonio for being a Christian, but he has a further hate for Antonio because he is affecting Shylock’s livelihood by lending ‘money gratis’ (without interest or free) and bringing

Shylock: Villian or Victim

2007-09-05T14:54:56-04:00

Shylock: Villain or Victim? People who are seen as villainous usually show the characteristics of greed and selfishness, Shylock does indeed contain these characteristics but and so many people have immediately classed him as the villain of Shakespeare’s ‘Merchant of Venice’ especially in the 1600’s where almost all of the plays viewers would have been Christian and therefore would of hated Shylock purely for the fact that he was a Jew, although some argue that Shylock is actually a victim of racism and prejudice and has been turned into this selfish man by his terrible treatment by the Christians, in this essay I will explore both sides of this debate and finally chose which a agree with and my reasons for it. We are first introduced to Shylock in Act I Scene iii, interestingly the first thing Shylock mentions its money ‘three thousand ducats, well’, this is obviously Shakespeare playing on the idea of the Jewish stereotype that are Jews obsessed with money and also shows that Shylock is a usurer, which is a sin in Christianity so the audience would of automatically seen Shylock as a villain. Also in this scene we discover Shylock’s hatred for Antonio and the Christians: ‘ how like a fawning publican he looks’ ‘I hate him for he is a Christian; ’ Shylock also displays attributed of his personality that make him out as a villain in his refusal to ever forgive the Christians. We also learn of his intent regarding Antonio’s life: ‘ if I can catch him once upon the hip’ ‘I will feed fat the ancient grudge I bear him.’ And we also learn of his intent to kill Antonio by taking one pound of his flesh ‘if the bond cannot be repaid with ducats let the forfeit be nominated for a equal pound of fair flesh, to be cut off and taken in what part of your body pleaseth me.’ but Antonio interprets this as a offering of friendship ‘The Hebrew will turn Christian, he grows kind.’ And so he accepts this offer, this behaviour cannot be interrupted any other way than an act of villainy from Shylock, though it can be argued that the treatment Shylock has received from the Christians has forced him into hating them, it is seen throughout the entire play that the Christians are intolerant of the Jews and Shylock forming this plan to kill Antonio is

Elizabethan clothing

2007-03-05T22:34:49-05:00

In the Elizabethan times women did not have the freedom to wear what they preferred, regardless if they came from a higher or lower class. The Sumptuary laws dictated the clothing and accessories that they were required to wear. The whole purpose of the law was to control behavior and to make sure that you maintained your class. If you were to break any of these laws you could end up with fines, the loss of property, title, and even life. The goal behind Elizabethan period was to show their status and society and to make them look attractive. Women were willing to do anything to make their waste look small and petite as possible. They would use whalebones to get their actual size. Women in the Elizabethan days wore ruffles to show their position in society. Women in the upper class wore rich and luxurious materials, and had elegant style. While the lower class had

Othello racism – Othello tragedy

2007-01-18T10:41:11-05:00

Honest Iago is one of the most interesting and exotic characters in the tragic play Othello, by William Shakespeare. At first Iago seems to be motiveless. However, the motivation behind his actions lie more in Iago's quest for personal gain, as opposed to just being evil for evil's sake. Iago's greediness can be validated by examining his manipulation of Roderigo, Cassio, and most importantly, Othello. Iago's main interest is the destruction of Othello. The reason being that Othello has chosen another man, Cassio, as his second-in-command, preferring him to Iago. This resentment, accompanied by Iago's accusations of adultery and his blatant racism, cause Iago to despise the kindly moor. Because Iago is much too smart to immediately kill Othello, he proceeds with the arduous process of dismantling him emotionally. Iago also knows he must distance himself from any part of this, so he cleverly gets someone to do his dirty work. The first to fall victim to Iago's manipulation is half-witted Roderigo. Iago knows Roderigo is consumed by lust for Desdemona, and would do what it takes to make her his own. Iago tells Roderigo that the only way to win Desdemona's love is to make money to procure gifts for her. Put money in thy purse…(act I scene 3 line 339). However Iago is just taking those gifts intended for Desdemona and keeping them for himself, and making a profit. Roderigo eventually starts to question Iago's honesty. When faced with the accusations, Iago simply offers that the killing of Cassio will aid in his cause and Roderigo falls for it. In doing this, Iago keeps Roderigo in the dark and continues to profit from him monetarily. Roderigo is also used as a device in both Cassio and Othello's downfall. Iago's actions demonstrate his monetary and power based motivations, invalidating the claim that Iago is evil for evil's sake. Cassio like Roderigo follows Iago blindly, thinking the whole time that Iago is trying to aid him, when in fact Iago, motivated by his lust for power, is attempting to remove Cassio of his position as lieutenant. With Roderigo's help Iago causes Cassio to forfeit his position as Othello's second-in-command. Cassio is also used to bring out the monster inside of Othello. In Iago's exploitation of Cassio, it is clear to see that, although evil in his deeds, Iago is strictly motivated by his hunger for power. As mentioned earlier,

Merchant of Venice - Shylock: Villain or Victim

2006-09-19T13:00:52-04:00

In the play Merchant of Venice, there is always a lot of controversy about whether Shylock is a victim or a villain. The definition of victim is a person who dies or suffers as a result of voluntarily undertaking some enterprise or pursuit. Meaning someone who dies or suffers as a result of his or her own actions is still a victim. In accordance with the definition, in my opinion Shylock is a victim. When we first start to read the play, as a Jew Shylock is put at a huge disadvantage. 400 years ago when Shakespeare wrote the play, racism was commonplace. Shylock was written to be hated! As a result the audience and characters were prejudice towards Shylock as he tells us in Act 1 Scene 3 “Signor Antonio, many a time….….…thus much moneys’?” You could say he was a victim of society’s discrimination and bigotry. He was indeed a victim as he was looked down on and had to under go hardships put on him by the community. Antonio was one those citizens in the community who tormented Shylock. Antonio constantly insulting Shylock as shown in Act 1 Scene 3 “I am as like to call thee so again….….…Exact the penalty” Shylock simply replies saying he would have Antonio’s friendship and forgive him for what he has done “Why look you….….…This is kind I offer” But Antonio still rejects Shylock for he is a Jew, but never the less Shylock is still willing to lend the money. If Shylock was truly a bad person he would have not even listened to the proposal of Bassanio and Antonio and would have wanted nothing to do with them, but as we can see from the above quotes, Shylock is actually a good person and is willing to forget and forgive Antonio for how he has mistreated him. Not only does he suffer abuse from the local community and society as a whole, his own daughter Jessica steals from him before running away with her lover Lorenzo, a Christian and good friend of Antonio. Jessica not only stole ducats she also took the ring he received from his now departed wife Leah. He has lost his only daughter to a Christian and he has lost the ring in which he kept in remembrance of his deceased wife. This has put him through even more pain as we can tell by how he describes his agony and sorrow in

Androgyny: and the Will of Shakespeare’s Female Characters: A Feminist Perspective

2006-04-23T00:39:36-04:00

Throughout Man’s history, women have always been at a disadvantage socially, economically, and politically. Shakespeare realized this and sought to bring the controversy that comes with Androgynous issues—to life. Through strong female characters and the implications of disguises, Shakespeare exposes gender issues. Many critics believe Shakespeare poorly represents women in his plays through intentional exploiting of women with his boy-girl-boy disguises. When in fact, I see Shakespeare as exploiting how women were/are treated through that very use of disguises and— the strength he gives his female characters, especially that of Portia (Merchant of Venice) and Viola (Twelfth night)—is representative of his personal admiration of intelligent, strong women. It is also important to mention that the idea of a transsexual theme did not exist during Shakespeare’s time, as in the same sense that one would have now. Men playing the part of women—playing the part of men was simply accepted by the audience. Shakespeare was able to use this acceptance as an opportunity to give female characters strong and important roles. Portia is so strong of a character, she would have been considered a devil woman in the eyes of her peers—humor for the boy-girl-boy disguise for the audience of the time. Yet, Shakespeare’s portrayal of Portia and Viola, is heroic in today’s terms. By the mid-eighteen hundreds, Shakespeare’s female characters were starting to be analyzed. Shakespeare was over two hundred years ahead of his time on gender issues. Although Shakespeare also used “feminine men” to illustrate the characteristics given to men were also confined to certain social critique, he focused more on the roles women played, or were not socially nor by way of law allowed to play, during his time. Through the will, strength, virtues, and intelligent mind of Portia to the will, sweetness and deep need for survival of Viola, Shakespeare embraces Androgyny and exposes his own feminine side for future generations to analyze and feminists to explore. Robert Kimbrough, in his 1982 essay: Androgyny Seen Through Shakespeare’s Disguise, provides several definitions of Androgyny. The definition most fitting to the contemporary time is, “Androgyny is the capacity of a single person of either sex to embody the full range of human character traits, despite cultural attempts to render some exclusively feminine and some exclusively masculine” (1). Some believe androgyny is a secular dream and unattainable, but through structural change of institutional and social organizations—it can be

Rhetorical Analysis of Marck Antony's speech

2006-04-06T23:26:59-04:00

Rhetoric is perhaps one of the oldest disciplinary regimes introduced on the human race. Rhetoric is the study of impressive writing or speaking as a means of communication or persuasion. In William Shakespeare's very famous play "The Tragedy of Julius Caesar" Marcus Brutus and Marck Antony, both Roman Senators at the time; give a speech at Julius Caesar's funeral. Both speakers introduce themselves to the crowd in their own unique way with the usage of prodigiously different rhetorical strategies, therefore arousing in the Roman crowd greatly distinct emotions and reactions. Antony's pathetic speech proofed to be the most effective. He was able to turn the easily swayed crowd against the "honorable" conspirators, and he was able to portray Caesar as a non-ambitious caring and truly honorable roman man. In order to accomplish all his objectives Antony used in his speech a combination of verbal irony, repetition, connotation, and imagery rhetorical devices while strongly appealing to the plebeians "pathos" emotions. The rhetorical device Antony took hold of and made the central device throughout his persuasive argument was verbal irony. The use of verbal irony in his speech is so strong that it borders on sarcasm. "Friends, Romans, countrymen,... I come to bury Ceasar, not to praise him." (Act III sc II 80-84) says Antony when introducing himself to the crowd. Knowingly that at that point Brutus was to them an "honorable" man he makes sure that he does not allow his emotions to take in and destroy his real intentions. He addresses the plebeians as "Friends" with the purpose of persuading them into believing that they were equal, and that he just wanted to say farewell to his passed, and dear friend Caesar. As his speech develops, Antony begins to plant the seed of doubt and anger in the plebeians’ hearts towards the conspirators. "The noble Brutus hath told you Caesar was ambitious...It was a grievous fault, And grievously hath Caesar answered it, ... they all are honorable men" (Act III sc II 84-91) Here very wisely Antony is telling the plebeians that Brutus's is an honorable, and noble man thus may excuses his wrongful act when killing Caesar. These contradicting statements "Brutus an honorable man/killing Caesar was wrongful," already begin to create confusion and distrust about the conspirators. Once he had aroused this feeling of doubt in the plebeians Antony was able to continue with his

Romeo and Juliet

2006-01-20T06:21:05-05:00

ROMEO AND JULIET Just today I have finished the translation of “The Merchant of Venice” handed over to the programmers to start off with their routines so that it can be uploaded to the website. Having done that I picked up Romeo and Juliet for the modern English translation, amusingly I found a mistake in the very second line of the translation done by Louis B. Wright, Director, Folger Shakespeare library, [1948-1968] and Virginia A. La MAR Executive Secretary Folger Shakespeare library [1946-1968], published by Pocket Books NEW YORK through Washington square press. It may take two to three months to make an authentic editing of this work but I would be sharing the jokes with you of and on while the editing is in progress and now prepare yourself for the first joke of Romeo. Now with a great respect to the useful advice of some I am appending the reference. [a] Romeo and Juliet Act I Scene I [b] Dialogue of Gregory at line two. 1. The word under dispute is COLLIERS. 2. Meaning assigned by Louis B.Wright “Workers or dealers in coal” 3. My

The Tempest

2006-01-20T06:18:42-05:00

Examine the observations made by Roma Gill of the oxford university press While editing the dialogue Miranda in “The Tempest” at lines 351 to 361.Roma Gill feels that “The hatred and revulsion expressed in this speech shows an unexpected side to the hitherto placid and docile Miranda---and many editors of the eighteenth and nineteenth century re-assigned the words to prospero”. First let us examine the meaning of the word placid. Refer Para 826 of Roget’s and the meaning is in excitable i.e. not to show irritation. It is very reasonable for our girls not to show irritation at their loving parents but would it be fair on your part to expect your sister or daughter not to show irritation while dealing with a man who had tried to rape her or outrage her modesty, regardless how broad minded you be? Now let us examine the meaning of the word docile. Refer Para 602 and the meaning is willingness and at Para 539 the meaning is learning and at Para 370 the meaning is tamed. It is reasonable for one to willingly accept when a father demands something because generally fathers are not seen to rape their daughters but will it be reasonable to advise one to willingly accept when one attempts to rape her? There is a scope for the girls to learn from their fathers a few useful things but what useful things Roma Gill expects this girl to learn from the man who attempted to rape her? It is reasonable to stay tame under a father but will it be reasonable to ask the girl to be tame while dealing with the man who attempts to rape her? In the management sciences we find a term “zone of acceptance” some people have a very broad zone of acceptance but we cannot expect Shakespeare to have such broad mindedness to make his characters to be placid and docile to the rapists According to W Turner “If I should marry him, I should be as if married to twenty husbands.” Does this translation make any meaning to you? See the Notes Section of W Turner, he deals only with one word “Throttle” and discusses nothing about all the grandiloquent words used by the great Shakespeare in this dialogue. I am hopelessly confused to understand as to how marrying this French lord would amount to the ordeal

www.shakespearerevived.com

2006-01-20T06:15:12-05:00

AN INDIAN’S FERVENT APPEAL THE CRUSADE [queries if any visit my home page www.shakespearerevived.com] A crusade against the intellectual ineptitude which kept the intellect of Shakespeare the Great, gruesomely eclipsed for almost all of the four centuries, obstructing it from percolating down to the down generations. An economically impotent man’s intellectually potent challenge thrown in the face of the world acclaimed intellectual cream to defend themselves against an allegation of intellectual infraction left un-noticed for all most all of the four centuries. A crusade to put an end to the madness of hurling insults and the audacity of under rating the intellectual heights of this great god-sent intellectual whose soul restlessly wanders in this world seeking the recuperation of rupture of his intellectual contribution by the puny intellectuals of the era and the era gone by. A crusade against the world governments who had been silent spectators for this gruesomely grave gluttonous act of intellectual infraction without realizing that the intellectual pollution is the grass root from which the other pollutions emanate. A crusade to open up the eyes of this world’s judicial and legal fraternity whereby some judiciary of some country realizes the after affects of the intellectual pollution and reacts suo-moto to put an end to this madness. My Works Julius Caesar I had to make about 54 Comments and some samples are appended for your perusal and appraisal. 11th Comment examine the meaning of the words “First Motion” 1. Meanings in circulation W.Turner#61672;Conception. Roma Gill#61672;Impulse Davidson#61672;Idea Anil Wilson#61672;Idea 2. All are the meanings of the word Notion but Shakespeare used a word Motion. Will you agree with these people and take motion as a synonym of notion? 3. Then what is First Motion? After four centuries may I try to explain this word? (a)Motion=Principle (Ref. Para 615 of Roget’s) (b) Principle=cardinal virtue (Ref. Para 05 of Roget’s) SEVEN CARDINAL Virtues. (1)Justice (2) prudence (3) Temperance (4) Fortitude (5) Faith (6) Hope (7) charity Motion= virtue but there are seven virtues – but which one of these seven? Shakespeare says – First Motion• First Motion= first of the seven cardinal virtues= justice First motion means Justice 4. Killing Caesar is a dreadful thing. If left to live, Caesar would kill justice Debate is between the love for Caesar and General good through justice. (A difficult choice which makes Brutus spend sleepless nights) 5. However you be the better judge. 12th comment. Examine the translation of lines 97 to 99. 1. W. Turner #61672; “what

The Life and Times of William Shakespeare

2005-05-01T03:20:20-04:00

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The Tempest - Plot Summary, Character Analysis and Theme

2004-10-29T19:25:13-04:00

The Tempest by William Shakespeare Plot Summary The Tempest takes place on an enthralled island somewhere between Africa and Italy, that has been inhabited by a benevolent magician named Prospero, his daughter, Miranda, a misshapen monster who is a servant of theirs, Caliban, an airy spirit, Ariel, and several other spirits and nymphs. Prospero was the Duke of Milan, until his traitor brother, Antonio, scheming with the King of Naples, Alonso, detained his position. With the help of an honest old Councellor named Gonzalo, Prospero was able to escape with his daughter, and the books that are the source of his magical powers. Prospero and his daughter arrived on the island where they have been living for twelve years. His enemies are now unknowingly heading his way, and he raises a tempest to make things right with them. The storm strikes the ship that’s carrying Alonso, his son named Ferdinand, his brother named Sebastian, Antonio, Gonzalo, a butler named Stephano, a jester named Trinculo, and the crew of the ship. During the tempest, a lot of the characters’ traits are revealed to the reader. We see Antonio and Sebastian depict their evil by being rude to the boatswain. Their rude actions foreshadow how they’re going to behave in the rest of the play. By contrast, Alonso, Ferdinand, and Gonzalo, behave respectfully, and give up their authority to listen to someone with more proficiency in the matter. It seems as though Prospero’s incarcerated servant and chief magical agent, Ariel, carries out virtually every task Prospero needs accomplished throughout the play. We learn that it was actually Ariel who raised the tempest, set fire to the mast, and now has just made sure that they all got safely onto the island and they are separated from each other into small groups. Ariel then reminds Prospero that he was promised freedom if he performed these tasks without complaint. Prospero then chastises Ariel and reminds him that he had rescued him from a long imprisonment at the hands of a witch. This is one of the few times where we think Prospero might not be that munificent. Ariel is then ordered to take the shape of a sea nymph and be invisible to all but Prospero. If he completes a few more tasks, he shall be at liberty. Prospero along with Miranda go to visit Caliban. Caliban starts to curse Prospero and Prospero then sends him to fetch firewood.

The role of Shylock in "the Merchant of Venice."

2004-05-08T15:59:30-04:00

Shakespeare’s portrayal of Shylock in “the Merchant of Venice” is more complex than is originally thought. He is not only seen by the audience as the traditional stock villain; “I hate him-p13,” but he also evokes the audience’s empathy such as in his famous speech: “hath not a Jew eyes? -p47.” Shylock is caricature to fit the profile of a typically villainous character in the eyes of an Elizabethan audience; his career in usury, his Jewish religion, and his attitude towards money and the Christians for instance, are all traditional stereotypes of a villain. Shylock’s introduction to the audience in Act1 Scene3 is typically miserly and sinister; “three thousand ducats, well,” and in his soliloquy on p13 “I hate him…” this conjecture is confirmed, when he reveals his true feelings over his Christian associates. The audience is therefore deeply suspicious when Shylock proposes a bond out of “kindness” in which he asks for a pound of flesh if the money is not repaid by three months. Although Antonio is convinced of the Jews sincerity, the audience is constantly reminded of the suspect circumstances by Bassanio, and remains sceptical; “I like not fair terms in a villains mind.” When Antonio’s misfortune is heard of by the Jew, he openly expresses his contentment; “Good news, good news!” and the audience feels contempt for him as a result. Shylock later has Antonio arrested and the continual repetition of “the bond” constantly reminds us of Shylock’s trickery in Act1 Scene3. In the following act, Shylock demands his pound of flesh and takes the matter to court. His intentions are seemingly more brutal when compared to Portia’s sentimental pleas for “the quality of mercy.” As Shylock rejects every opportunity to withdraw and show mercy, the audience begin to despise him even more, and all previous sympathy is lost, especially when he refuses the presence of a doctor; “’tis not in the bond.” We are therefore lead to believe that Shylock is justly punished, when he is caught out by Portia; “thee here no jot of blood,” and sentenced by the Duke to convert to Christianity and to leave his possessions to his daughter and son in law. Despite this, the audience does feel sorry for him to some extend, as he is seen as both the victim and as humane at different points in the play. Both his money and, his daughter are lost when Jessica elopes

The role of Portia in "The Merchant of Venice."

2004-05-08T14:39:04-04:00

Portia is one of the main character roles in Shakespeare’s Merchant of Venice, and is often related to as the heroine of the play. Unlike the business city of Venice, her home is set in the contrasting city of Belmont, which represents love and harmony within the play. We are introduced to Portia in Act1 Scene1, when Bassanio describes her as “a fair lady, richly left,” but we do not see her until Act1 Scene2. We learn that she has a close relationship with her waiting-woman, Nerissa, and she proves her sharp and witty character when they discuss her many suitors; “Ay, that’s a colt indeed.” However we also learn that she is racist; “let all of his complexion choose..” Although she appears independent, we are told that she is bound by her dead father’s will, which states that any suitor must pick the correct one of three caskets in order to marry Portia, to which she reluctantly obeys; “a living daughter curbed by the will of a dead father.” She does however remain devoted to her father’s wishes when she says she will “die as chaste as Diana” unless she marries a suitor approving of her father’s task. Despite this, Portia still manages to marry her Bassanio, by hinting to him of the identity of the correct casket. Her song in Act3 Scene2 for instance, rhymes with lead. Although this satisfied both her and her conscience, was she legitimately deceiving her father? Her character seems at first conventional for a wealthy heiress from the Elizabethan era, but her manipulation of the casket test is followed by her visit to Venice to attend the court trial, disguised as a lawyer and accompanied by her clerk (Nerissa). Shakespeare meant this as a comedy act, as during a Shakespearian performance a male actor would have played Portia dressed as a man, however her disguise also proved Portia as irresponsible and untrustworthy. The ring plot involved Portia deliberately asking for the ring she gave to Bassanio in return for her saving Antonio’s life, another act of deception. However her trickery is masked by her performance in court, where her witty, intelligent and forceful argument is used to lawfully condemn Shylock and free Antonio. Although she misleads Shylock into believing he will be rewarded until the last minute, a cruel feat, she may have been doing so in order to give Shylock every opportunity to redraw and

Tragic Hero Antigone

2004-03-20T20:20:45-04:00

Tragic Hero What qualities generate a hero? Must heroes possess superhuman abilities? In the Greek era, heroism was much more practical. According to Aristotle, a tragic hero must be royal. He/she must be a good, moral person. Yet, every tragic hero must exhibit flaws. His/her flaws must lead to downfall. A hero must be punished or experience suffering. He/she must invoke catharsis into the audience. A tragic hero must recognize his/her wrongs and accept all consequences. Beyond all doubt, Antigone is a tragic hero. Obviously, Antigone is royal. She is Eteocles, Polyneices and Ismene’s sister. Plus, she is Creon’s niece. However, a tragic hero must be a good, moral person. Antigone has family pride. She is loyal and honorable. Antigone’s conscience would not allow her to leave her beloved brother to be scavenged by animals. “But I will bury him; and if I must die, I say that this crime is holy: I shall lie down with him in death and shall be as dear to him as he to me.” (Prologue, Line 55). Antigone’s pride and loyalty for her family uphold her morals and good nature. Being human, Antigone exhibited flaws. Antigone demonstrated impressive loyalty and bravery to bury her brother. Yet, becoming a martyr for the cause was extreme. Deciding to transgress the King’s law was a significant faux pas. When Antigone decided to bury her brother, not even the Gods’ ominous whirlwind could defer her. Overpowering pride and loyalty led to Antigone’s ruin. Importantly, Antigone received punishment. Creon sentenced Antigone to death by nature’s hand. Antigone was imprisoned in a stony tomb where starvation would execute her. After suffering without provisions, Antigone performed euthanasia on herself by committing suicide. Therefore, Antigone was a good person with flaws. Antigone’s imperfections ended her. Despondently, Antigone invoked catharsis into the audience. The audience felt the combined feelings of pity and fear for Antigone. They felt sympathy and pity for her when she could not bury her brother. They felt fear for her because her death sentence was undeserved. For both of these feelings, the audience could relate to Antigone and could imagine how she was feeling; and it was not something they would like to experience. The audience

Lady Macbeth - Tragic Hero

2003-12-01T23:56:37-05:00

Since the name of this play is Macbeth, most people wouldn’t think of anyone but Macbeth being a tragic hero in this story. However, if the character of Lady Macbeth is examined we see that she is a tragic hero. A tragic hero is a protagonist, usually of high estate and neither entirely good nor bad. He is perfect except for a Hamartia (flaw), which is the significant factor leading to his suffering, that eventually brings him down in the end. More often than not, the tragic flaw is hubris (arrogance that blind him to reality). He arouses our pity because, not being an evil person, his misfortune is a greater tragedy than he deserves and is unequal to the "flaw." We also fear for ourselves, as we recognize the possibilities of similar errors or defects in ourselves. Lady Macbeth is a tragic heroine because she has many of the points in the definition of a tragic hero. One of the reasons she is a tragic hero is that forces the reader to feel pathos (pity) for Lady Macbeth. Lady Macbeth feels a lot of remorse for what she did. She shows remorse by needing to wash her hands so often. She also shows remorse when she says: “Nought’s all spent. Where our desire is got without content:” “ My hands are of your colour, but I shame to wear a heart so white.” This shows remorse because she is saying that it wasn’t worth it to kill Duncan because they have gained nothing from it. She shows that she is ashamed of what they have done in the second quote. This forces pity because her remorse shows that she wasn’t such a bad person. This makes the reader feel that great human potential was wasted because Lady Macbeth could have been a good queen if she hadn't killed Duncan. And she would have been queen without killing Duncan because it was Macbeth’s fate to be king so that would make her queen. However, even if she wasn’t queen she could have been a good person too. She was a loving wife, her wanting to help Macbeth so much throughout the play shows this, she is also a very hospitable person and a good hostess. Nevertheless she goes insane towards the end

Lady Macbeth - Tragic Hero

2003-11-30T21:01:10-05:00

A Product of His Society? Merchant & Midsummer

2002-11-26T13:00:00-05:00

It is hard to determine whether or not Shakespearean comedy is clearly a product of Elizabethan courtly society. It can be said that the answer to that question is both yes and no. It is apparent in The Merchant of Venice that Shakespeare’s writing was strongly influenced by the society surrounding him while A Midsummer Nights Dream is much less realistic and so original that one might think he came from another time period all together. In The Merchant of Venice there are countless examples of how Shakespeare’s works were a product of society. One of the main similarities is religion. The official established state religion in Shakespeare’s time was the Church of England, lucidly Protestant. Everyone was required to attend an Anglican Service once a month. The Anglican service is also called Prayer Service, Prayer Book Service, Common Prayer, or the Lord’s Supper. Although it was not expressly illegal to be of a different religion, it was not exactly legal to practice the faith of ones choice. There were even fines for not conforming to the sanctioned religion; that is, for not going to Protestant services. (Nicoll, 76) Jewish people were quite rare in England during the Elizabethan time period and they seemed to be looked down upon the most (although it was not considered a lot better to be a Catholic). Shakespeare probably never knew a Jewish person directly, but during his time the Queen’s Jewish doctor was executed for being ‘a spy’. Also, during that time it would have been considered quite normal to force someone to convert to Christianity. Shakespeare’s Venice had the same mentality about Jewish people. Anti-Semitism was overwhelmingly abundant. Although Shylock was surely a respectable businessman, it did not seem out of the ordinary for Antonio to spit on him and call him a dog whenever it took his fancy. Shylock seems to be the only one who realizes the hypocrisy of the ‘good Christians’ and makes mention of it in his famed speech in Act III: SHYLOCK… Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not

Taming of the Shrew

2002-10-19T14:00:00-04:00

“The Taming of the Shrew” may not immediately be described as a violent play. However if we look closer we can see that Shakespeare uses violence throughout the play, which can sometimes go unnoticed due to its subtlety. He uses physical, emotional, verbal and psychological forms of violence skilfully depending on the desired effect. Violence is important to the characterisation, plot and humour of the play. The fundamental storyline of the play is violent, enforced by Petruchio’s character. Out- Shrewing Katherina is part of Petruchio’s taming plan, but the violence that he uses to ensure this is already there in his character, not just formulated for Katherina’s taming. We see Petruchio’s potential for violence early on in the play when Petruchio “wrings him (Grumio) by the ears” for no other reason than his misunderstanding of the context of the word “knock”. This behaviour seems rather extremist, considering the nature of Grumio’s fault. From the outset we are presented with the aggressive nature of Petruchio’s character. This shows that Shakespeare wanted the audience to see this as a very important part of Petruchio’s character. The incident is also very visually humorous due to its slapstick. We see a master and servant relationship, later to be mimicked with Katherina. Petruchio has a need to be dominant. The same can be said of Katherina, that violence is a natural part of her character. Katherina is willing to use violence, as in act 2, scene 1, where Bianca enters “with her hands tied”. Katherina’s overriding jealousy has led her to behave in this manner towards her sister. Shakespeare uses violence here to increase our curiosity, and therefore our interest in the subplot, over which of her suitors Bianca likes the best. Katherina takes this action, as she likes the fact that she already has control over Bianca, who cannot marry until she does. This incident just increases Katherina’s control. Katherina hits Bianca after she says: “Is it for him that you envy me so?” This suggests to me that Bianca’s words have angered Katherina, probably because of their truth. It is clear that Katherina is jealous of Bianca and this incident shows Katherina’s desire to be married herself. The difference between how Katherina needs to feel control over Bianca and her submission to Petruchio is that she knows Bianca won’t fight back if she ever wants to be married. The general attitude that the play presents is

Everything at Six and Seven

2002-07-27T14:00:00-04:00

Regal complacency must yield to political expediency and the deposition of the king will reverberate though the ages. Susan L. Powell The parallel and inextricable link between the fall of King Richard to the rise of the new and innovative King Henry, present a significant investigation of power and betrayal – of those who wield it and those who desire it. (Queensland Theatre Company) Written in the late 15th century, William Shakespeare provides a detailed study of kingship and supremacy, which is clearly displayed in the first few opening scenes. The play begins with a dispute between nobles Bolingbrook and Mowbray, who are subsequently sentenced to banishment; Bolingbrook for 6 years and Mowbray for life. Incredibly upset, Bolingbrook’s father, John of Gaunt, becomes emotionally ill before dying of a broken heart, leaving King Richard with Bolingbrook’s inheritance within his sight. At this point in the play, the Duke of York warns Richard of the consequences of seizing Bolingbrook’s inheritance: …If you do wrongfully seize Herford’s rights… You pluck a thousand dangers on your head, You loose a thousand well-disposed hearts… (2.2.201…205-6) On Richard’s absence to Ireland, York is left behind to manage his kingdom. However, his first regal task is prompted by news of Bolingbrook’s return to England which motivates York to prepare for war. God for His mercy! What a tide of woes Comes rushing on this woeful land at once! I know not what to do. I would to God, So my untruth had not provoked him to do it, The king had cut my head off with my brother’s. What, are there no posts dispatched for Ireland? How shall we do for money for these wars? Come, sister – cousin I would say, pray pardon me. Go, fellow, get thee home. Provide some carts And bring away the armour that is there. [Exit Servingman] Gentlemen, will you go muster men? If I know how or which way to order these affairs Thus disorderly thrust into my hands Never believe me. Both are my kinsmen. T’one is my sovereign, whom both my oath And Duty bids defend; t’other again Is my kinsman, whom the king hath wronged, Whom conscience and my kindred bids to right. Well, somewhat we must do. Come, cousin. I’ll dispose of you. Gentlemen, go muster up your men And meet me presently at Berkeley Castle. I should to Plashy too, But time will not permit. All is uneven And everything is left at six and seven. (2.2.98-121) York begins the task of mustering loyal supporters to defy the invasion of Bolingbrook. Speaking

Symbolism and Imagery in A Midsummer Night's Dream

2002-07-10T14:00:00-04:00

In A Midsummer Night’s Dream, William Shakespeare brilliantly uses the night as a motif which plays a valuable role in the play. He combines this motif with the related symbols of the play to demonstrate the power of night and its correlation with love and vision. He uses symbolism and imagery to develop the motif and makes extensive use of the night forest which, in part, helps the situation of the four young lovers, one of the main plots of the play. It might seem strange that Shakespeare would choose a forest at night as the main setting for a comedy; the dark forest serves as the center of the play’s world, ousting Athens, a city that was regarded as the center of ancient Greek civilization. The darkness of the night is intensified in the forest; the dark is intense enough for the characters to fear being alone. Helena cries out to Demetrius not to abandon her “darkling”, or in the dark (Act II, Scene 2, 85). When Lysander abandons Hermia, she is convinced that being alone in the dark could lead her to death: Speak, of all loves; I swoon almost with fear. No? Then I will perceive you are not nigh. Either death or you I’ll find immediately. (Act II, Scene 2, 153-155) The night symbolizes darkness and a state of blindness. It symbolizes mischief and madness, fairies and magic. The night forest provides a setting for dangerous and daring acts such as Hermia and Lysander’s plan to escape Athens. The lovers plan to execute their plan and meet at “deep midnight” (Act I, Scene 1, 223). The moon, which has been said all throughout the play to affect human behaviour, is the only source of light at night which allows the lovers the see each other. Shakespeare associates the moon with love. In the opening scene of the play, Theseus is anxious to get married to Hippolyta. He complains “four happy days bring in/ Another moon: but O, methinks how slow/ This old moon wanes! She lingers my desires/ Like to a step-dame” (Act 1, Scene 1, 2-5). Shakespeare also compares the moon to a bow, and Cupid, the Roman god of love, carries a bow to shoot arrows of love. “And then the moon, like to a silver bow/ New bent in heaven, shall behold the night/ Of our solemnities”(Act I, Scene 1, 9-11). Shakespeare uses symbolism to strengthen the

Bad to the Bone? - The Intriguing Outsider in King Lear and Othello

2002-07-04T14:00:00-04:00

The declared villains in both Shakespeare plays are Edmund and Iago. Although they pretend to be adjusted to the cultural framework of their present environment, they are bearing evil ideas and plans in their minds and systematically set up targets which they fulfil step by step. Both characters see themselves as outsiders to society. Although they are well-integrated and accepted by respected characters, they do not get rid of their negative motifs such as revenge, hate, greed, and envy. These ‘base’ motifs seem to be indeed the catalysers for the chaotic turmoil they cause. Edmund and Iago are dangerous to the stable community because their real emotions, ideas and plans are disguised, hidden within their heads and only verbally expressed when they are alone. The villains share their most intimate thoughts and analytic views with us, the audience. They justify their evil deeds against innocent characters by their negative attitude. Edmund, on the one hand, interprets his educational exile outside the familiar boundaries as an exclusion from the warm family nest wherein Edgar had the privilege to stay. Edmund realizes his discrimination because he is born out of wedlock. He deciphers society’s rules in a negative sense: thus, he feels legally neglected and unfair treated bearing the comparison with Edgar in mind (e. g. heritage). By destroying the conventional framework of written and unwritten laws, Edmund’s misdeeds are in a sense justified because his illegitimate status or ‘unnatural’ nature urges him to fight against the conventional and institutional exclusion from financial benefits and rights. Edmund deciphers the subtle structures of his environment which tries to degrade him on a low, ‘base’ level (first sololiquy: I, ii, 1-22). However, by questioning the rules, values and conventions of society, Edmund shows the audience that society as such does not fulfil the needs of mankind - the situation is turned upside down: it is the society which is “stale” and “dull” and not him (I, ii, 124-40). Society itself and its legal members are an obstacle, a “plague”, which has to be destroyed step by step. But what justifies Iago’s evil deeds? He seems to be a legal member of Venetian society. However, Iago feels neglected by his social environment, being not taken into consideration for a higher rank in the army. On top of that he often thinks that his wife Emilia deceived him with Othello (I, iii, 369-70). Like Edmund, he as

The Merchant of Venice

2002-05-06T14:00:00-04:00

“Shylock is the villain in the play. He deserves no mercy.” Discuss with close reference to the Merchant of Venice.

In the play The Merchant of Venice by William Shakespeare, Shylock is the villain. However, there are reasons as to why he does and why he does not deserve mercy. The reasons why he deserves mercy include: the fact that he is only considered the villain because he is a Jew; Antonio deserved mercy, so Shylock should be shown mercy as well; Shylock can’t be blamed for being a villain after all the terrible things that have happened to him; and if the other characters were the genuine Christians that they made themselves out to be, they would show mercy to Shylock and they would not have been so mean to Shylock in the first place. The reasons why Shylock does not deserve mercy are: that he has a truly villainous nature; Shylock refused to show mercy to Antonio, even after Shylock was offered many times the amount of money he actually lent to Antonio; and because Shylock’s bond was against the law, therefore the penalty of the law should be imposed. The first reason why Shylock deserves mercy, is the fact that he is hated because he is a Jew. The other characters’ “hatred” for Shylock is obviously just a mask for their racism, as throughout the play they make their prejudice towards Jews extremely clear, “Certainly, the Jew is the very devil incarnation” is one example. Shylock also explains the reason why he is hated when he says, “He hath disgraced me, and/ hindered me of half a million, laughed at my losses,/ mocked my gains, scorned my nation, thwarted my/ bargains, cooled my friends and heated mine enemies; and/ what’s his reason? I am a Jew. Secondly, Antonio foolishly signed Shylock’s bond, entitling Shylock to a pound of Antonio’s flesh if he did not repay Shylock on time, even though Antonio had not read and considered it carefully “..lend it rather tho thine enemy;/ Who if he break, thou may’st with better face/ Exact the penalty.”. This shows that Antonio did not fully believe that he would have to pay the forfeit. However, when he failed to repay the bond, he was shown mercy, as he was not made to give Shylock a pound of his flesh, as the bond demanded. Since Antonio was shown mercy for his foolish

The Merchant of Venice: A Justice not Justified

2002-02-24T13:00:00-05:00

The Merchant of Venice was a comedy written by William Shakespeare. Antonio, a merchant of Venice was a venerable businessman. He was a wealthy man and offered his friends the loan of money, without interest. Antonio became bound to Shylock when he agreed for his good friend Bassanio to use him as security to borrow money from Shylock. Shylock was a Jewish usurer who lives in Venice. He believed in charging interest and hated Antonio who did not. Portia was a wealthy heiress who is confined by her father's will of the caskets. She was the one whom Bassanio married after he chose the correct lead casket that contained her portrait. Shylock insisted on collecting a pound of Antonio’s flesh when Antonio was unable to repay the money he owed to Shylock through Bassanio. At the end of the play Shylock faced an extremely difficult time and he was not treated at all fairly. The relationship between Antonio and Shylock had a lot to do why Shylock was so insistent on taking Antonio’s flesh. Shylock was a Jewish merchant who lived in a world where the Jewish religion was regarded as evil. The people of Venice including Antonio, had ridiculed him, they called him a dog, and spat on him, all this simply because he was a Jew. That gave Shylock a very good reason for hating Christians. He was considered an alien in Venice and yet had to abide by Venetian Law. He hated Antonio all the more because Antonio lent money out free of interest and it contrasted with Shylock’s way of lending money at high interest. Antonio was a well-respected merchant in Venice. Antonio became bound to Shylock when he acted as Bassanio’s surety to borrow a sum of three thousand ducats from Shylock. This set up a perfect opportunity for Shylock to get revenge on Antonio. Antonio became bound to Shylock because his friend Bassanio needed to borrow money. Bassanio informed Antonio that he have spent his money too extravagantly and had accumulated quite a lot of debts. Bassanio had come up with a plan to pay off his obligations by marrying Portia. To do so he needed to borrow enough money in order act like a real nobleman and woo Portia properly. Unfortunately, all of Antonio's money was tied up with his business ventures. Antonio, however, offered to act as surety for Bassanio. After some consideration, Shylock

Much Ado About Nothing - Deceit

2002-02-23T13:00:00-05:00

In Much Ado About Nothing by William Shakespeare the role of deceit is played to the fullest to achieve the farcical effect that Shakespeare intended to put on “true love.” Nearly every character is effected in one way or another by this never ceasing deceit. Deceit is used to make characters fall into love, out of love, and back into love by the completion of the play. Much ado About Nothing is a play that involves an elaborate network of schemes, tricks, and deceit to achieve a satirical “true love” effect. The first event of the deceit occurs in Act II Scene iii when Don Pedro, Claudio, and Leonato stage a conversation for Benedick to overhear. Leonato, Claudio, and Don Pedro realize Benedick’s stubbornness towards love when he states “…man is a fool when he dedicates his behaviors to love…” (II, iii, 9-10). Because of Benedick’s attitude the plan of having Benedick overhear their conversation is devised. The three men accomplish this plan by waiting for Benedick to be in ear-shot when they raise the topic of Leonato’s niece, Beatrice. Don Pedro’s reference about “…your niece Beatrice was in love with Signor Benedick…” (II, iii, 96-97) helps to accomplish such manipulation of Benedick. As a result of the staged conversation Benedick decides that he loves Beatrice because she loves him. This same scheme is practiced on Beatrice to trick her into loving Benedick, with Hero and Ursala staging the conversation. The most significant trick employed during this play is carried out in act IV Scene I when Don John and Borachio deceive Claudio and the Prince into believing that Hero was unfaithful on the night before she is to be wed. When Claudio believes that Hero truly has been unfaithful to him he makes a plan to disgrace Hero during the wedding in front of everyone. Claudio’s anger with Hero for cheating on him is clearly expressed in his saying: “Give not this rotten orange to your friend.” (IV, I, 33) The final act of deception comes from the Friar. The Friar, holding true to his Shakespearean character, “kills” Hero because she is so upset with her marriage. The Friar plans to keep Hero in hiding and tell Claudio that his false words killed her. This is done because the Friar is quite certain that Hero was true to Claudio, and he knows that Claudio will mourn of Hero’s death, realizing

Dieing in the eyes of Shakespeare

2002-01-26T13:00:00-05:00

In this sonnet “That time of year thou may’st in me behold” Shakespeare uses nature to describe life’s stages, while painting a vivid picture of nature in autumn, we can see his state of mind when using metaphors. The author intertwines nature, time, life, aging, and death in such broadness that the personal reactions and perceptions of the poem are broad as well, as a good metaphor does. When speaking of autumn the author fist refers to it as “That time of year”. Furthermore, he describes the season as “When yellow leaves, or none, or few, do hang” the brightness of the yellow leaves suggest light which equals life. As the speaker goes on, “In me thou see’st the twilight of such day. As after sunset fadeth in the west”, one can see that “twilight” and “fadeth” suggest he is dieing. Moreover, this has a direct reference on the author’s golden years. Shakespeare uses the most decaying weather season of a year and the fading of the day’s sun light to replicate his feeling of aging and getting closer to death. He then refers to night as death by saying; “Death’s second self that seals up all in rest” rest represents a deep peaceful sleep that he may never awaken from. Furthermore, he proceeds into the conclusion of his theme with the permanent ending of death. “That on the ashes of his youth doth lie, As the deathbed whereon it must expire.” He compares life to a glowing fire, another one of nature’s elements and once again using the luminosity component of it. Which he believes is the brightest in his youth and now he lies in the ashes of his life, yet still burning. The author mentions how life has consumed all the fire that he has left in him, leading one to believe that he does not have much more to give, therefore, dying. Nature has the stages of the season and also of the day; our daily cycles are much more like our life stages than seasons. For the world is newborn again in spring. However, when light falls at the end of a day the life of that particular moment is gone with permanence. Life is a down hill spiral not a cycle. People usually refer to spring as a reawaking of a new season or life, when they refer to tomorrow as a brand new

A Midsummer Night's Dream: Love

2002-01-02T13:00:00-05:00

Love, or what is more commonly known as love, can take hold in an instant and feel very much like magic that is being put over you. It can make you do things that you would never of done and makes you feel like your floating in air. It hits you without you knowing that it’s going to happen and there is nothing you can do to stop it. That is what A midsummer Night’s Dream mostly consists of. But who speaks more completely, eloquently, and most compassionate in this play about love? Before you can come to a conclusion, you have to look at all the kinds of love there is in this play. One of the kinds of love that is really not love but many people mistake it as is infatuation or commonly known as lust. This isn’t being in love with the other person but in love with one of there charecteristics. This can be shown with the relationship between Demetrius and Hermia. Demetrius only wants Hermia for the chase and not for who she is. Another type of love that can be presented is an unrequited relationship. This can be expressed by Helena and Demetrius. Helena loves Demetrius with all of her heart but he doesn’t want anything to do with her because there is no chase. It’s a one way kind of love. The last love that is shown in this play is true love. This can be shown with Lysander and Hermia. They love each other with every once of their body and nothing can stop them from being together. (Except love in Idleness) That is what true love is and that’s why people say that true love is the most powerful thing in the world. It can also be show in what Lysander says in Act. 1 sc. 1 161-164 “ There, gentle Hermia, may I marry thee, And to that place the sharp Athenian law Cannot pursue us. If thou lovest me, then, Steal forth thy father’s house tomorrow night;” In order for them to be together is to run away and that is what they do. In my opinion, I think that Hermia is the one that speaks more completely, eloquently, and most compassionate in this play about love then any other

Much Ado About Nothing - Comedy and Melancholy

2001-12-15T13:00:00-05:00

When we discuss the dramatic form of a Shakespearean comedy, we are not only examining the clever or amusing text. Shakespearean comedies are not about drawing laughs from an audience. The form of traditional comedies involve certain aspects that have nothing to do with what is funny, delightful or amusing, including different classes of characters, different settings and different plot structures. Some may be surprised to find such a horrible and unpleasant turn of events within a “comic” setting, like Hero’s overwhelming slander by her fiancé, or Beatrice’s proposition for Benedick to murder his friend. Shakespeare’s comedies reach a real truth and depth of human existence, which we find with the juxtaposition of merry and melancholy in Much Ado About Nothing. When we are presented a merry, festive setting in Ado., followed by a wholly unexpected and terribly unpleasant shaming of the innocent Hero, we experience a very sharp turn as an audience. This is a truth in human existence: how life can be playful and turn very suddenly serious. In contrasting these humors, Shakespeare creates a more truthful world on stage and can really educate the audience to the nature of the world as well as entertain them. In this essay we will explore the various melancholic aspects in Ado and their employment in creating emotional complexity and theatrical poignancy. Shakespeare creates a balance of humors that would communicate to an Elizabethan audience. He presents a world where the structure within the play respects the power structure in the universe where everything must be balanced. We will ultimately prove Shakespeare’s desire to create a comic world that is not just lovely and delightful, but surprisingly dark and insightful. Much Ado About Nothing is set in what is supposed to be a merry time. It is after the war, a time of new marriages proposed, old court ships revived and festivities abound. Claudio’s desire to woo and marry is brought immediately into play, creating an immediately happy setting: When you went onward in this ended action, I look’d upon her with a soldier’s eye, That lik’d, but had a rougher task at hand Than to drive liking to the name of love But now I am return’d, and hat war-thoughts Have left their places vacant, in their rooms Come thronging soft and delicate desires, All prompting me how soft and fair Hero is, Saying I lik’d her ere I went to wars. (I. i. 297-305) Ado. is presented as a play that dealing

Themes in the Tempest

2001-12-12T13:00:00-05:00

There are so many different themes and issues in the play The Tempest by William Shakespeare, that it is difficult to define which is useful and which is not. To explore this concept, it would be prudent to look at 4 themes and issues in the play. The theme of forgiveness is seen in act four scene one almost immediately with the words of Prospero to Ferdinand "If I have too austerely punish'd you,/ your compensation makes amends" (4.1.1). It is also far from Prospero's initial attitude as chronicled by critic Davidson "desire for vengeance has apparently lain dormant...and now with the sudden advent of his foes, the great wrong...stirring present again, arousing the will to action". Prospero goes through the motions of forgiveness, but his sincerity sometimes is lost. There is a matter-of-fact reconciliation between Prospero and Alonso, who with a simple "pardon me" (5.1.116) later on in the text he seems to make waste to the expectations for a more satisfactory ending that the audience found in act four, scene one. We saw a grand masque after the forgiveness of Ferdinand and in the next act, we see a rather lame apology and acceptance. The masque element of the play is also a very important theme which incorporates the musical and visually stimulating elements that have been seen throughout the play so far. The use of pastoral images such as "Ceres, most bounteous lady, thy rich leas/ Of wheat, rye.../ Thy turfy mountain" (4.1.60) denotes that sensuous lexis adds to the pleasure of the spectacle.The masque also breaks up the action for the audience and smoothes away and notion of the play being morbid. This positive feel to the play foretells of a happy ending. There is a human issue to consider. Prospero is a master and a Duke, but above all, he is a father. He demonstrates his love for his daughter by his constant warnings "if thou dost break her virgin knot before/ All sanctimonious ceremonies may/ with full and holy rite.../ no sweet aspersion shall the heavens let fall.../ but barren hate" (4.1.15-19). This is indeed a threat, but it should not be forgotten that a father who loves his daughter is worried about her well being. This human element propels the play to another level; that of empathy. The use of magic throughout the play is very prominent and in this scene, the rest of the plays

Delusional Characters in Shakespeare

2001-10-17T14:00:00-04:00

"Delusion can often lead to unhappiness." Comment on how characters you have studied in a text this semester have deluded themselves and other. What was the outcome of this delusion? In William Shakespeare's play text "Macbeth", we are shown delusion can often lead to unhappiness. Many of the characters in the play deluded themselves and others along the way. A deluded Macbeth destroys his entire kingdom by deluding others around him as well as himself, and eventually in a moment of tragic realization, is slain. Lady Macbeth suicides in a moment of insanity and unhappiness when she realizes her own delusional state. King Duncan is deluded by feelings of safety and trust, impelling him to his death at the hands of Macbeth, causing unhappiness for all belonging to his kingdom. Banquo, though suspicious of Macbeth, still has confidence in their friendship then momentarily allows himself to be deluded by the promise of prophecy and soon after is murdered. All the characters, consequently, end up unhappy. Macbeth is deluded by prophecies of kingship and once king, he is then deluded by the promise of power. The witches foretell Macbeth's rise to the throne and due to his superstitious nature, he willingly believes the prophecies, never really doubting their augury. A delusional Macbeth ignores the order of the natural world, failing to recognize the Great Chain of Being. The king on the Chain of Being is recognized as earth's tangible divinity, a Supreme Being of earth, situated at the highest earthly place on the chain. Macbeth's first delusion is that he has any right to claim a place on the throne and in doing so ignores divine order. The fact that it was the oracles of evil, the witches, who informed Macbeth of his ascension should have been enough to alert him that the witches were going to create disorder and use him as an agent of chaos. The seduction of power then fuels his delusion and he plots to kill King Duncan. Macbeth's second delusion is that he can enact the murder without encountering the consequences inevitable when divinity is slain. He does fleetingly consider these consequences of the heinous crime in a moment alone. After acknowledging the diablerie of the proposed crime, he decides not to carry out the murder. "We still have judgement here; - that we but teach Bloody instructions, which, being taught, return To plague the inventor. This even-handed justice Commends the ingredients

King Henry IV Part 1

2001-08-27T14:00:00-04:00

Passage Analysis - Act 5 Scene 1, lines 115-138. Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the tavern world, and the conflicting moral values of characters from each of these worlds. This juxtaposition of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict, and passage three is a prime example of Falstaff’s enduring moral disorder. By this stage in the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince. Hal’s remark to his father indicates a now strong, independent mind, predicting that Douglas and Hotspur will not accept Henry’s offer because of their love for fighting. Henry’s reply in turn indicates a change in attitude towards his son, a newfound respect. Acknowledging Hal’s prediction, the king orders preparations to begin, and we see he has his own set of solid moral values: knowing that their ‘cause is just’ helps him to reconcile with his highly honourable conscience that there is indeed cause for war. Still maintained is the conflict between the very format of the text, with Hal and Henry’s conversation held in formal verse typical of the court world, in which Hal is now firmly embedded. Falstaff, however, sustains his equally typical prose speech, which indicates to the audience the enduring division between the court and tavern worlds. As soon as the king leaves, Falstaff immediately proclaims his unashamed cowardice, asking Hal to protect him in battle. The prince retorts with an insult to Falstaff’s enormous size, and abruptly bids him farewell. Gone are the jests that would accompany a conversation between these two at the beginning of the play, and Hal’s reactions to Falstaff now represent his moving away from the tavern world, and that he now belongs to the court world. Falstaff is extremely honest about his feelings towards the whole affair, bluntly stating that he wishes it all were over, exposing his strong reluctance to fight and interest in self-preservation. Again the prince offers only a rude retort before his exit, commenting that it’s a wonder Falstaff isn’t dead yet, as he well

The True Authorship of the Shakespearean Works

2001-08-15T14:00:00-04:00

Ask anyone who Shakespeare was, and he or she will immediately rattle off at least three different plays that were required readings in English, not to mention a few blockbuster movies bearing his name. Many revere the works of Shakespeare as paramount in the world of literature, dedicating entire books, classes and festivals to the study and celebration of his work. Although the ancient language is a common stumbling block for even the most seasoned readers, his varied tales of love, hate, fear, betrayal, laughter, defeat and victory are just as fitting today as they were four hundred years ago. He is amazingly timeless. Yet, while we might know what Shakespeare is, will we ever really know who Shakespeare was? Ah, there’s the rub! Much about the Bard is a mystery to even the most scholarly enthusiasts. The hard facts that are actually known about him could fill one neatly handwritten page, but what is speculated and complete legend could fill volumes of books. So, what is fact and what is fiction? According to the little documentation that chronicles his life, Shakespeare was not even a true ‘Shakespeare’ at all; he was born in April 1596 and entered in the baptismal record as “Gulielmus filius Johannis Shakspere.” Even his actual date of birth is somewhat of a mystery. While we do know that he was baptized on April 26th, 1564, there is no existing record of his birth date. We can assume that he was born on April 23rd judging by the customary three-day period that most families waited before baptizing their children, but this is only speculation. Since the records of the Stratford grammar school have not survived, we cannot prove that Shakespeare attended school. In all actuality, we have no evidence that he was even literate. His father had no educational training, so it is quite possible that he also lacked in schooling, but that’s only guesswork. The next piece of hard information that we come across in our search is a register entry showing a Wm. Shaxpere being granted a license to marry Anne Whateley on November 27, 1582. The very next day this same register records a marriage bond issued to William Shagspere and Anne Hathwey. Six months later Anne gave birth to their first child, daughter Susanna Shakspere, and then in February 1585 she gave birth to twins, Hamnet and Judith. It is presumed that Shakespeare made

A Midsummer Night’s Dream: Shakespeare's Timeless Exploration of Love

2001-08-07T14:00:00-04:00

Love is a timeless topic. It will forever be the theme of popular entertainment and source of confusion for men and women alike. No one understands this better than William Shakespeare, and he frequently explores this complex emotion in his writing of great works. In A Midsummer Night’s Dream he cleverly reveals the fickle and inebriating aspects of love through his mischievous character Puck. Though Puck adds much humor to the play while tormenting and drugging the lovers in the forest, he also acts as a catalyst in redirecting their devotions among one-another, thus demonstrating the fickle nature of love. For example, Lysander, who in one instant is blindly in love with his fair Hermia, will suddenly wake to find himself obsessed with Helena. Without questioning this drastic change, he boldly proclaims to Helena, “Content with Hermia? No, I do repent /The tedious minutes I with her have spent. /Not Hermia, but Helena I love. /Who will not change a raven for a dove?” (II.ii.118-21). Lysander’s drugged state (courtesy of Puck) was the source of his apparent change of heart, but even to this day this abrupt transformation happens more often than the average person would care to admit. Drugged or not, it is in the human nature to desire what isn’t ours, and admire the greener grass that our cute neighbor seems to have growing. The reader can also relate to Demetrius’s statement, “Lysander, keep thy Hermia. I will none. /If e’er I loved her, all that love is gone” (III.ii.172-73). Demetrius not only admits that he has lost all favor for Hermia, but questions whether or not he ever did love her. Once again Shakespeare has beautifully illustrated the bi-polar nature of human emotions. Although the character Puck was an impish fellow, he certainly knew how to develop a study in falling in and out of love. Puck’s serial drugging-spree serves to draw the readers’ attention to another important aspect in human behavior: love is intoxicating and can diminish all powers of reasoning. Seemingly sober people can act in the most foolish ways when under the influence of love, which is illustrated when poor Helena chases after Demetrius proclaiming “I am your spaniel, and, Demetrius, /The more you beat me I will fawn on you” (II.i.210-11). Like a drunken woman, Helena’s mind is clouded causing her to behave like a complete moron. A reader will cringe while reading about Helena’s

The Merchant of Venice: Portia's Suitors

2001-07-16T14:00:00-04:00

Compare and contrast Portia’s three suitors, examining their characters Shakespeare highlights three of Portia’s suitors, the Prince of Morocco, the Prince of Arragon and Bassanio. He does this to heighten dramatic tension, as these three men are the most important candidates to win Portia’s hand in marriage. They reveal the contents of the three caskets and their different characters as exposed as being proud, vain and humble. They also emphasise the racial prejudices of Venice a place where many races clash. Their attitudes towards the caskets and their choices indicate what their character is like. This essay will compare and contrast the three suitors and will explore how Shakespeare influences the audience’s attitudes towards the three men. The Prince of Morocco is the first suitor of the three suitors we are introduced to. His first line is, ‘Mislike me not for my complexion’ (Act II Scene i) He is anxious to compensate for the colour of his skin. He shows himself to be ashamed and insecure. However his character is proud because after he remarks on his skin colour he proceeds to defend it and boasts about himself, ‘ ...this aspect of mine/ Hath fear’d the valiant…The best regarded virgins of our clime/Have lov’d it too...’ (Act II Scene i) He challenges Portia to compare his blood with the whitest of men to see whose is the reddest. ‘Bring me the fairest creature…And let us make incision for your love/ To prove whose blood is reddest, or mine.’ (Act II Scene i) This would be a way to suggest that Morocco was as noble as any white man was because red blood signified courage and virility. A lot of emphasis is placed on Morocco’s skin colour. His long-winded speeches full of false and extravagant praise makes him sound insincere, ‘…all the world desires her; /From all corners of the earth they come,/ To kiss this shrine, this mortal breathing saint:’ (Act II Scene vii) In contrast his exit is short and dignified, in total disparity to his entrance and long speeches before choosing a casket. ‘…I have too griev’d a heart /To take a tedious leave: leave losers part.’ (Act II Scene vii) This indicates he does not easily accept defeat. He explains his thoughts on each of the caskets as he reads the inscriptions on them. He says the lead casket is not worth hazarding everything for and quickly dismisses it. When he comes to the silver

The Merchant of Venice - Shylock: Villain or Victim?

2001-07-16T14:00:00-04:00

Many people are villainous in the way they behave. Their villainous acts may be attributed to their desire to destroy others and in turn elevate themselves to a higher financial or social level. However, the root cause of their villainy may be a response to the treatment they have endured at the hands of others. In short, they have been taught villainy, rather than it being an integral part of their personality. In such instances, revenge can be a key motivator in inspiring them to act in a villainous way. It is on such occasions, where villains have themselves been exposed to villainy, that the distinction between villain and victim becomes blurred. Victims are usually characterised in the way that they are persecuted for circumstances, which are beyond their control for example their appearance. In plays and novels, the victim is sometimes a character included to highlight the prejudices and pre-conceptions of the social climate in which the play or novel was written. In the ‘Merchant of Venice’ it can be argued that Shylocks character undergoes a metamorphosis from villain to victim. However, in this essay I hope to discuss whether in fact Shylock can be defined as either villain or victim and to form an opinion of what Shakespeare intended. First we shall look at the aspects of the text that portray Shylock as a villain. We are first introduced to Shylock in Act I Scene iii where we learn of his usury. It is in this scene that Bassanio seeks Shylock out and asks to borrow money from him in Antonio’s name. Also in this scene do we learn of Shylock’s hatred for Antonio and the Christians: ‘ How like a fawning publican he looks! / I hate him for he is a Christian; ’ (Act I Scene iii) Shylock also displays elements of belligerence in his refusal to ever forgive the Christians. We also learn of his intent regarding Antonio’s life: ‘ If I can catch him once upon the hip, / I will feed fat the ancient grudge I bear him.’ (Act I Scene iii) Shylock also shows himself to be devious and cunning by hiding his hatred beneath a façade of friendship in order to entice Antonio to become indebted to him, not just with money but with his life. Antonio is very naïve regarding the terms of the bond taking the ‘pound of flesh’ clause to be a show

Richard III Paper

2001-06-04T14:00:00-04:00

To achieve goals, in one's life, one must be determined and focused. In the play Richard III, Richard III's goal is to ascend the throne. There are two ways that one can claim the throne, by birthright, or by might. Since Richard III cannot claim the throne by right he must therefore take it by might. To accomplish this goal Richard, Duke of Gloucester, must be determined to achieve his goal at all costs and he must have the characteristics to meet his determination. In the first scene of the play, Richard announces in a narration, his plan to become king. Richard is truly a Machiavel. A Machiavel is “one who views politics as amoral and that any means, however unscrupulous, can justifiably be used to achieve power”. Richard plainly states that he is "Deformed, Unfinished, and sent before his time" and "since he cannot prove to be a lover; he is determined to prove a villain". As a villain Richard must be heartless; he cannot let his emotions interfere with his actions. He must also be intelligent and organized; a villain must know exactly what he has to do, when he has to do it and how he is going to do it. "A villain must also be manipulative and persuasive so that if he is accused of a crime, or if he finds himself between a rock and a hard place, he is able to talk his way out or convince people that he did not commit the crimes in question. A villain must also have scapegoats to use if he is discovered or if he is in a dangerous situation". Richard devised a brutal stratagem to ascend the English throne. Brilliantly, he executed his plan. Heartlessly, he executed family, friends, and subjects. Richard did indeed display these characteristics and, therefore, fulfilled his goal to ascend the throne. With his elder brother, King Edward IV, dying, Richard believes himself to be the most qualified to rule. He sets his plan to ascend to the throne into action. The first step was to lock up the rightful heir, his other brother George, Duke of Clarence, in the tower. He demonstrates his manipulative skills and plants the seeds of distrust in his brother Clarence's head. He tells Clarence that it is not the king that is locking him up in the tower, "'Tis not the king that sends you to the tower;

Merchant of Venice - Modern Humanitarianism

2001-05-11T14:00:00-04:00

“Modern Humanitarianism has run riot on Shylock.” Discuss. “The Merchant of Venice” is concerned with two issues that were of importance in the Elizabethan Age: Jewry and Usury. It is generally assumed that the Elizabethan attitude to Jewry was hostile and that the execution of Roderigo Lopez in 1594 was characteristic of the Christian rejection of all ‘Jews, Turks, Infidels and Heretics’, who were considered to be “misbelievers”. But this could also be a false assumption, for although the Jews were forced to convert to Christianity to live in England, once they did they were generally left alone. Marlowe in “The Jew of Malta” portrays a Machiavellian Jew, but one who is ‘rarely mean’ in his villainy. Usury was a contemporary and important issue during Shakespeare’s time. Shylock is the negative and stereotype picture of the usurer that most of the Elizabethans had- one who was seen as a ‘greedy dog’, ‘a leech’. The interpretation of Shylock’s character is difficult and also to some extent ambiguous. He was earlier portrayed as a comic character but later on could be interpreted as a malevolent villain. But if Shylock is taken as a comic character the whole power of the play is lost. He would almost become a ridiculous villain. It could also be that Shakespeare created Shylock as a match for Marlowe’s Jew- one that was terrible, imposing but also human. Shylock is one of the main characters of the play but this also depends on the way that his character is played. He has mostly been portrayed as a comic character but when he is the tragic protagonist he ‘usurps the center of the stage.’ Shylock “represents the killjoy against whom the pleasure-loving characters unite.” He represents a “a-social miserliness” and thus his villainy is somewhat mitigated and brought within the scope of humanist debate. Shylock exists as a visible complication to the smooth running of Bassanio’s friendship with Antonio and his courtship of Portia. One can almost say that is the character that makes the plot possible. As John Palmer has said, Shylock is “An imaginative realization of what it means to wear the Star of David.” Shylock is a Jew in a Gentile Society, an alien who is never accepted. He is proud of his race, his religion but he is up against a Venetian society that is insufferable to the outsider. Even his daughter attacks all that he holds

Merchant of Venice - Plot Structure

2001-05-11T14:00:00-04:00

Show how the plot of ‘The Merchant of Venice’ is apparently fanciful but in reality exactingly structured. “The Merchant of Venice is a fairy tale. There is no more reality in Shylock’s bond and the Lord of Belmont’s will than in Jack and the Beanstalk.” H. Granville-Barker, in Prefaces to Shakespeare. This is one way of looking at the play, reading it or enjoying the performance. But it can be a contradiction to our actual feelings about this complex play. ‘The Merchant of Venice’ might appear to be a romantic tale without much logic but that would be a superficial interpretation. Portia’s father may have raised our concerns in taking away her freedom to choose her beloved; Shylock’s bond and those conditions may violate most legal codes; but the way the play moves takes one beyond these doubts and objections. In ‘The Merchant of Venice’ Shakespeare creates an interesting contrast between the mercantile and tumultuous city of Venice and the peaceful and gracious world of Belmont. The striking difference between these two settings helps to capture and maintain our attention. There are differences in the value of systems of the people belonging to the two different cities. The contrast between Venice and Belmont is that one place is where money is made and the other where it is spent. One is characterised by light and sunshine and the other by moonlight and music. Wealth is described in almost sensuous terms like when Salerio says “…touching but my gentle vessel’s side…Enrobe the roaring waters with my silks.” And in an ironic way later love is talked about in commercial terms. Another contrast is presented when the scenes shift from Venice to Belmont. When we hear of Shylock’s hatred and his terms of the bond, our anxiety builds. But then the play moves on to Belmont and the mood shifts from a sort of harshness and tension to a world of romance and graciousness. The most striking contrast is between the court room scene in Act IV and the opening scene of Act V which takes place on a starlit, romantic night in Belmont. Venice could also be a sort of “a disguise” for London. Venice is “poised between Christians” on one hand whose acquisitive practices do not match up with their protestations against usury and Jews on the other whose dealings rest on the “double pillars of expediency and Levitical Law” Shylock’s attitude to money

The Merchant of Venice as a Romantic Comedy - Critical Analysis

2001-05-11T14:00:00-04:00

We can trace the origin of Comedy to Dionysis- the Greek God of Wine who was hilarious, satirical and irreverent in spirit. Ben Jonson in ‘Volpone’ (1605) that is considered to be the greatest comedy in English epitomized the classical spirit of comedy. Shakespeare was aware of the classical tradition by the chose to follow the Roman tradition of Petrarch and Boccacio. Shakespeare’s early comedies were classical in spirit but the later ones were more emotional, fanciful and humorous. ‘The Merchant of Venice’ falls between there two categories. It leads the list of mature comedies; has more Romantic characteristics than classical. It is also one of the earliest productions of the middle period. In this play Shakespeare seems to have obtained the highest use of his powers as a playwright, his faculties as a poet and philosopher seem to be approaching their grand maturity without losing the ardor and hopefulness of youth. There is loftiness of thought and expression. Romance was an old tradition and Romantic ideas were common during Shakespeare’s time. Romantic Comedy in the 16th C was meant for the Aristocracy and the comic relief in the plays was meant for the groundlings. There were many differences between the Romantic Comedies and classical comedies. In the classical tradition, the characters were presented with ruthless force and the plays were realistic, spiritual and critical. But in Romantic comedies that Shakespeare wrote there was plenty of with but there was also an appeal to the emotions rather than the intellect and they were also less critical in purpose. Like Meredith said, they are “thunders of laughter clearing the air and heart.” It is a comedy of emotions, which wins the audience’s sympathy with the woes and exhalations of the characters. The various characteristics of Romantic comedies are present in ‘The Merchant of Venice’. The leading themes of most of these plays were Love and Friendship. These comedies were an exposition of Love and its manifold modifications. And on one level ‘The Merchant of Venice’ is also a play about friendship and love. In the first scene itself Antonio displays the nature of love and friendship that he feels for Bassanio, “My purse, my person, my extremest means Lie all unlocked to your occasions.” The love of friendship seems to dictate most of Antonio’s actions. He signs the Flesh Bond and it can be seen as the ultimate gesture that he can make for

Shakespeare’s Sonnets: the theme of love

2001-05-11T14:00:00-04:00

Shakespeare’s poems are the monument of a remarkable genius but they are also the monuments of a remarkable age. The greatness of Shakespeare’s achievement was largely made possible by the work of his immediate predecessors, Sidney and Spenser. Shakespeare’s sonnets are intensely personal and are records of his hopes and fears, love and friendships, infatuations and disillusions that in turn acquire a universal quality through their intensity. The vogue of the sonnet in the Elizabethan age was brief but was very intense. Sir Thomas Wyatt and The Earl of Surrey brought the Petrarchan sonnet to England and with that an admiration for lyrical poetry. This had major consequences on English verse; it was not only due to the beauty of the form of the sonnet but also because the Sonnet had become the vehicle of expression of one’s personal feelings. It was with the sonnet that Lyricism entered English Poetry. The Elizabethan sonnets show the mingling of the conventional with the original. There was a greater influence of Italy and France on the English sonnet form but in the hands of the three great masters Sidney, Spenser and Shakespeare it took a unique form. The sonnets had marks of sincerity that were in direct relation to life and their authors. In the Elizabethan Age there were dramatic authors who wrote verse as secondary to their plays and the songs or the lyric were the best in these collections. The songs of this period had the blending of the genius of the people and the artistic sense awakened by humanism. England became the impassioned lover of songs. Most were love-songs, some very free and profane but there were religious songs as well and many were purely fantastic. But Shakespeare’s songs were the most original and spontaneous and they were rich in their impression of Nature. They contained a sort of fresh and rustic realism. Like in ‘Winter’s Tale’ the image of “when daffodils begin to peer” and the white sheet is “bleaching on the hedge.” And also the purely fantastic songs, which borrow from Nature as in ‘Midsummer Night’s Dream’, banishing the “spotted snakes with double tongue.” Shakespeare’s sonnets cannot be classified. They are embedded in a scene and lose their special beauty and subtlety when taken out of context. The majority of Shakespeare’s poems were written in the early stage of his career. The narrative poems ‘Venus and Adonis’ (1593) and ‘The Rape of Lucrece’

My Mistress' Eyes are Nothing Like the Sun

2001-05-04T14:00:00-04:00

“My Mistress’ Eyes Are Nothing Like the Sun” is a poem written by William Shakespeare about the love towards an imperfect woman. He explains that although his mistress is imperfect, he finds his love special and “rare.” If the modern day reader is not careful, he/she might be quick to assume the role of the woman that Shakespeare writes about. Although the word mistress now refers to a sweetheart or a woman who lives with a man without being married to him, in Shakespeare’s time, it meant a woman who rules others or has control. With that understood, the reader can focus on some important conventions of this poem- theme, tone, and form- to better understand and appreciate the piece. The theme of this poem is to reflect and understand true love; true love is loving one another’s imperfections. This poem explains the imperfections and even flaws of the writer’s love. He speaks of her eyes being “nothing like the sun“, her lips not as red as coral, her breasts an off-white color, her cheeks less red than roses, and her voice not as pleasant as music. He even becomes a bit insulting when he points out that her hairs are like black wires, her breath reeks, and that she treads on the ground when she walks. But despite all these things, he still loves “to hear her speak” and finds his love rare, recognizable by heaven. The tone of this poem is one of realism and contentment. Shakespeare realizes that love is full of imperfections, yet that only makes love stronger. This is a realistic look at his mistress, not a usual love-stuck reflection in a poem of one’s love. He has come to realize that she is far from perfect, yet that does not take away from his love for her. It seems as though he is having an epiphany about the truth of love. Maybe he is a young lover, who is coming to terms with the facts and reflecting in a realistic manner. Although he speaks of all of her shortcomings, he sounds satisfied with his love. This poem’s form is that of a sonnet. William Shakespeare is famous for his use with sonnets, and truly perfected the art of sonnet creation. “My Mistress’ Eyes Are Nothing Like the Sun” contains fourteen lines with ten syllables per line, and follows Shakespeare’s renound iambic pentameter meter scheme. In each line,

Merchant of Venice - Antonio and Shylock

2001-03-26T14:00:00-04:00

William Shakespeare shows how two tradesmen can have completely different lives when others view them differently in the play The Merchant of Venice. In the play, Bassanio, Antonio’s friend, needs money to pursue his love. They seek a loan from Shylock, a Jewish moneylender in Antonio’s name. The contract is for three times the value of the bond in three months or else Shylock cuts off a pound of flesh from Antonio. While all this is happening, there are love plots going on. One of which is for Shylock’s daughter to elope with Lorenzo, a Christian. Later on, Antonio’s source of money, his ship, is reported sunken in the English Channel, dooming him to the loss of one pound of his flesh. There is a trial on the bond, and when it seems sure that Antonio will die, Portia, disguised as a doctor of laws legally gets Antonio out of the situation and Shylock recieves harsh penalties. Antonio and Shylock, two similar businessmen of Venice, are viewed differently and are treated oppositely to heighten the drama of the play and mold a more interesting plot. Antonio and Shylock are both successful entrepreneurs in Venice but they both have different attitudes and experiences. When Antonio is asking Shylock for the loan he says, “Within these two months – that’s a month before this bond expires – I do expect, return of thrice times the value of this bond.” (1.3.169-170). Antonio and Shylock both are well off and successful businessmen. Antonio, being a man who is treats everyone nicely, lends his good name to Bassanio to woo Portia. Shylock on the other hand, could never do that and is a very greedy man who asks for three times the value of the loan. Also, Antonio is a risk taker and thinks things will always go the right way for him and his success will continue, which is shown when he accepts the high interest rate and the bizarre payment if the money isn’t received. Shylock handles his business straightforward and charges interest because it is his job, although being a very high amount and if it isn’t carried out, Shylock gets his payment of one pound of flesh. Shylock is depicted as the greedy businessman while Antonio is the nice man who tries his luck. Another way Antonio and Shylock are different is their religion based social status: Antonio is a Christian and Shylock

Titus Andronicus

2001-03-19T13:00:00-04:00

I loved this play! I never knew Shakespeare could have been this dark and deep. Every act was twisted with plots of deviance. Titus intrigued my reading, I loved his ability to stay true to what he truly honored and believed. This play was a true masterpiece between Good and Evil. Throughout reading this play I realized that in some deep way it was God verses Satan. In that the little boy whom I believe is to be God or Jesus verses Aaron, the Moor, who is Satan. Aaron is crafty and wicked to the core. His corrupt ways bringing down everyone he comes into contact with making him happier with every life he ruins. The little boy is truly innocence and goodwill making no mistakes I see throughout the play or movie. He can be protrayed as God or Christ in that he never has a sinful act or thought in the play or movie. The boy also is like Christ or God in that in the movie he walks away with Aaron's son and that is a sign of God saving His lost children from darkness and sin of this world. I know this a long shot but I really felt this in reading the play. I know Shakespeare did have some Christianity in his background; maybe this could be what he was conveying in a sense. My favorite part of the play was the way that Lavinia stood up to the evil Goth Queen, Tamora in the woods in(Act 2, Scene 2, lines 60-163). An amazing display of courage from a little, frail young woman defending herself from a devil of a woman in Tamora. The words exchanged between the two are deep, piercing two-edged swords slashing through the hearts of each woman. I built a hatred for Tamora she like Aaron is the root of all evil. I know it would have been unlady like for Lavinia to physically attack Tamora; but I would have loved to see her try. The best chracter in the play would have to be Titus amazing wit and strength. This man was truly unpredictable kept me on my toes throughout the whole play. Even though the ending of the play was the most digusting display of violence I have ever seen, but sheer brilliance. Never will I ever see revenge taken by cooking a human-pie and as a result shattering a whole

Much Ado About Nothing - The Importance of Noting

2001-03-02T13:00:00-05:00

Discuss The Importance Of Noting In Much Ado About Nothing Noting, or observing, is central to many of the ideas in Much Ado About Nothing. The word nothing was pronounced as noting in Elizabethan times, and it seems reasonable to presume that the pun was intended by Shakespeare to signal the importance of observation, spying and eavesdropping in the play. As a plot device, these occurrences propel the action and create humour and tension. The perils of noting incorrectly are portrayed and this leads naturally to the investigation of another major theme, the discrepancy between appearance and reality. Shakespeare uses the problems of illusion, deception and subjectivity of perception to examine the Elizabethan patriarchy, and he shows how adhering to convention can distort the views of society’s leaders. Plot development and comedy in Much Ado rely heavily on the use of noting. The play appears to have a simple plot; the romantic couple, Claudio and Hero, are denied marital joy by the evil Don John while the sub-plot, Beatrice’s and Benedick’s resisted but growing love, provides us with some humour until order and happiness are re-established in Messina. However, Shakespeare cleverly employs the many forms of noting (observation, misunderstanding, misreporting) to move the dramatic action forward. The main plot and the sub-plots are laced together with this device and, to emphasise the importance of noting, the audience is denied viewing the vital episode where Claudio and Don Pedro witness what they think is Hero’s debauchery – we observe the watch eavesdropping on Borachio recounting the event to Conrade. This eavesdropping reminds us of the orchard scenes where Beatrice and Benedick are tricked into loving each other. They both come closer to a position of self-knowledge and this enables the “merry war” of Beatrice and Benedick to move a step further to its conclusion. The orchard scenes, along with the scenes involving The Watch, are a major source of humour in the play. Eavesdropping leads to Beatrice’s and Benedick’s most hilarious lines and Dogberry’s continued misunderstandings and malapropisms help soften the tone of the play as they follow the more sinister sections. Dogberry’s insistence on others noting that Conrade called him an ass is especially funny: “Oh that I had been writ down an ass” (4. 2. 70-71). The audience enjoys the irony that Dogberry has been “writ down an ass” – by Shakespeare himself. The Watch’s inability to reveal what they have correctly noted,

Merchant of Venice - Is the Shylock “A man more sinned against than sinning?”

2001-02-25T13:00:00-05:00

There are many sides to this argument. The first is that Shylock does not sin at all, the second is that all the characters sin as much as each other, the third that Shylock is the only one who sins, the fourth that they all sin, but Shylock sins the most making the above statement false, and the fifth way of arguing it is to agree with the statement. Shylock may sin when he makes the contract with Antonio saying that he must pay back the 3000D within 3months if he lends it to him, or he can take 1lb of flesh from his body, but it is not clear whether he wants to harm Antonio because he claims to want “Only friendship”. Later on in the scene he has his aside and he tells the audience that he hates Antonio. “For he is a Christian” and he will do anything to harm him. The quote from his aside is clearly racist and this breaks one of Gods rules “Love thy neighbour” (Leviticus). But later on there is evidence for the Christians breaking this rule as well. Shylock says to Antonio “You spat on me Wednesday last, You spurned me such a day, another time You call me dog:” Shylocks daughter Jessica steals money and jewels from Shylock and this is clearly a sin because she is breaking one of the 10 commandments “Thou shall not steal” She also elopes with Lorenzo and this is clearly a sin according to the 10 commandments because you should “Respect your father and your mother”. When she has to turn from a Jew into a Christian in order to marry Lorenzo, it becomes unclear whether changing belief i.e. changing from Jew to Christian is a sin, because Shylock doesn’t say to Jessica at any point. “Don’t become a Christian” so therefore she is not breaking any of the 10 commandments such as “Respect your father and your mother” In court when Antonio has failed to pay back the sum of money that Shylock is owed, Shylock refuses the correct sum of money that has now been found by Antonio and wants “only my bond”. Even when Shylock is offered 6 times the money owed he say’s “I only want my bond”. Strictly speaking it is not a sin to refuse the money but as we find out later, he wants to harm Antonio and could not care less

Gilgamesh

2001-02-19T13:00:00-05:00

Gilgamesh is an epic of great love, followed by lingering grief that causes a significant change in his character. It is the story of a person who is feared and honored, a person who loves and hates, a person who wins and loses and a person who lives life. Although, Gilgamesh’s journey is larger than life, yet ends so commonly with death. Through Gilgamesh, the fate of mankind is revealed, and the inevitable factor of change is expressed. Before the coming of Enkidu, Gilgamesh was a man of pure power. A being of which there was no equal match, Gilgamesh boasted upon his overwhelming glory and power. However, his arrogance was accompanied with an extensive abuse of power, which led to the city of Uruk into a state of injustice and rage. Still Gilgamesh felt no despair; he lived to display to others his majestic power. The first sign of a sincere change in Gilgamesh arises as a result of the birth of Enkidu. From the beginning, a powerful link developed between man and woman. The wise Ninsun said to Gilgamesh,“You will love him as a woman and he will never forsake you”. Gilgamesh had finally met his match, a friend that would serve as his life-long companion. Upon the seal of this great friendship, Gilgamesh began to change his selfish ways. Nevertheless, he shared with Enkidu the luxuries of kindness. Setting aside his great pride and power, Gilgamesh had opened a place in his heart, and in his sumptuous life, for his beloved brother. The second significant change in Gilgamesh was caused by the loss of his brotherly companion, Enkidu. Gilgamesh couln’t bear the loss of a love so powerful. Despite his astonishing power and leadership, something in his life was missing. Moreover, he wept for seven days and nights, thinking his friend would come back because of his weeping. It is in this stage of the epic that one can see the truly sympathetic and compassionate side of Gilgamesh. The grief in his heart had far surpassed the magnificent pride that he had previously displayed so boldly. Enkidu’s death left Gilgamesh frightened and confused. However, the despair in his heart was so great that he could not rest; would he ever be at peace? Thus, he became terrified of his own death. After the death of Enkidu, Gilgamesh tries to find immortality by trying to cross the ocean to find

Shakespeare Movie reviews

2001-01-09T13:00:00-05:00

True love, can be a fantasy come true or you worst nightmare in my perspective, for love is a strong word and its used to frequently, but in the three movies I have observed you find yourself truly believing in love and in my opinion, True love is out there, and if your lucky you will meet the right person, the man or woman of your dreams. The three movies I picked are Shakespearean plays, Romeo and Juliet, the modern movie made in 1996, Othello which is also a known classic, tragic love story, where two people truly loved each other and tired to make it work, but had many obstacles to overcome, with family and race. What is true love? Love means a warm liking or affection for a person, affectionate devotion. Does the way Romeo describe Juliet sound like love to you? In my opinion love does not occur at first sight, it is something that you need to work towards. This Shakespeare play is a classic made into a modern gang bang performance, with knifes not daggers, exceptionally ensemble cars, and different attitudes and clothing. The cast of Romeo and Juliet, in the recent movie made in 1996, The tale of Romeo & Juliet is about the happenings of two forbidden lovers. Their families The Montagues and The Capulets share an ancient grudge, and now it has broken to a new mutiny. The Capulets only daughter Juliet meets the Montagues only son Romeo at a costume ball held at the Capulet mansion. They experience love at first sight, each falling desperately in love as they see the other through an amazing fishtank. Their love is so strong that they are married the next day, keeping everything secret from their parents. Juliet's cousin Tybalt is angry at Romeo for being present at the Capulet ball, and he sets out to challenge Romeo to a duel. He meets up with Romeo just after Romeo and Juliet's marriage and in the effort to get Romeo to fight him(Romeo refuses to fight, Romeo's best friend Mercutio is killed. Romeo wreaks revenge and in a sudden fit of anger kills Tybalt. He's banished from Verona walls and before going to hideout in Mantua he spends the night with his love and wife, Juliet. The following morning Romeo travels to Mantua to wait for things to settle down before he returns to Verona. meanwhile,

Shakespeare and Frost - Masters of their Trade

2000-11-21T13:00:00-05:00

“The art of the poet is to explore the very questions of human existence”. The art of poetry is a deep and involved process, which when used properly to infer an existentialist message, can turn lines of ink into a work of art. Major and famous authors of times past and present have frequently, and continue to deal with these issues of human existence. Two of these masters, William Shakespeare and Robert Frost are examples of writers who have made the step from poetry to works of art. This is shown in Frost’s On a Tree Fallen Across the Road and in Shakespeare’s Sonnet No. 30 where major existentialist and metaphysical themes are dealt with. Frost’s On a Tree Fallen Across the Road, includes major metaphysical and existentialist themes that are clearly portrayed by the poet, Frost, in a story about travellers who’s journey has been bared by a hurdle, represented by a fallen tree. “The tree the tempest with a crash of wood, Thrown down in front of us is not to bar Our passage to our journeys end for good.” The first three lines of this stanza already expose this existentialist message. When read literally we see a group of travellers whose passage has been impeded by a tree which has fallen across the path of these travellers, however when we read deeper into the passage we find Frost referring to “Our journey”, a term commonly used in existential writing as a description of life, and the tree a representation of the problems or hurdles faced in life. In his poetry Frost commonly refers to life as “his journey” and in this instance Frost has written about the unexpected challenges, distractions and hurdles thrown into life, which can side track or take our minds of the “journey” at hand. Frost continues his existentialist theme by going on to say: “We will not be put off our final goal We have it hidden in us to obtain.” Frost believes that every individual has the ability to reach the goals they have set while on their “journey”, and every person needs to have goals set, otherwise their would be no need to partake this journey, therefore answering this question “why are we here”, and along with his use of natural imagery, simple language and symbolism Frost is able to deal with the major existentialist question and concepts. While Frost dealt with the ideas

Much Ado about Nothing: Love and Marriage

2000-11-17T13:00:00-05:00

Even though love and marriage was a major ideal in Shakespearean England, we can get views from Much Ado about Nothing which oppose this idea. From the two main ‘couples’ in this play we can understand their different views on commitment throughout and because of this we as readers and viewers can learn about each relationship separately and watch the thoughts and ideas change throughout the play. From the scene given we can make many assumptions on the Beatrice and Benedick relationship and how it may have grown throughout the previous acts and scenes. We can tell from this small passage that Beatrice and Benedick have a love/hate relationship which may have come from past relationship let downs… Beatrice: indeed my lord, he lent it me awhile, and I gave him use for it, a double heart for his single one. Marry, once before he won it off me with false dice, therefore your grace may well say I have lost it. The two seem to have the same ideas on marriage even though we learn through the play that this is not true, they both know it is important to get married but have different viewpoints on the matter, they both appear to want their individuality. We can see this idea in the passage provided and many other parts of the play… Beatrice: just, if he send me no husband; for the which blessing I am at him upon my knees every morning and evening. Lord, I could not endure a husband with a beard on his face I had rather lie in the woollen… Benedick: the savage bull may; but if the ever sensible Benedick bear it, pluck off the bulls horns and set them in my forehead; and let me be vilely painted, and in such great letters as they write ‘Here is a good horse to hire’ let them signify under my name ‘Here you see Benedick the married man’… Each of the two know deep down that they do love each other and only when their friends plot against them do they end up declaring their love for each other. Benedick has protested in the past about loving Beatrice and we get this idea from this passage and numerous other passages throughout the play… Benedick: Love me? Why, it must be requited. I hear how I am censured: they say I will bear myself proudly, if I perceive the love

The Tempest: Caliban

2000-07-01T14:00:00-04:00

As an actor, select one character from ‘The Tempest’ and discuss how you would create the role, bearing in mind its function in the plot and its relationship to other characters. I have chosen Caliban to discuss, since, as an actor, I find him the most interesting character and thus the most enjoyable to discuss. Caliban’s function in the plot is one that is difficult to define. He is not the key protagonist, since this title belongs to the treacherous Alonso in his usurpation of Prosporo. Infact he does not at all directly encourage the conclusion of the play. Caliban has many small but essential functions; one of which is to create Shakespearean comic relief in his drunken trio with Trinculo and Stephano. He also creates contrasts with other characters, such as Caliban’s association with the “earth” and evil magic (by being “got by the devil himself upon thy wicked dam” who is Sycorax, a which). This is contrasted with Ariel whose very name associates him with the air, and being a spirit he is also seen as a positive embodiment of the super-natural. Caliban’s lust for Miranda in “seeking to violate the honour” of her, is contrasted with Ferdinand’s true love. Miranda: Do you love me? Ferdinand: ...I...do love, prize, honour you. There are many suggestions in ‘The Tempest’ that give us clues into the character of Caliban such as being referred to continuously as a tortoise, fish, cat, monster and a misshapen knave, his very name has similarities to Cannibalism. His mother being a witch does him no favours, but her treatment of Ariel (who we believe to be a “fine apparition” with his beautifully energetic language) certainly reflects badly on Caliban as a blood link, since she imprisoned Ariel in a “cloven pine...(for)...a dozen years”. Then there is Caliban’s attempt to “violate the honour of” Miranda; and at present not to be filled with guilt at this event but to say “would’t had been done!...I had peopled else this island with Calibans”. This certainly portrays Caliban as cold, evil and relentless that he would have repeated the rape. Then when worshipping the drunken fool Stephano as a “God” and promising to show him “every fertile inch of the island”, which is infact the same mistake he made with Prosporo, as he explains in Act one: “I showed thee all the qualities o’ th’ isle....Cursed be I that did so!”. And now he makes the same mistake. Then

Shakespeare Finds Love on a Midsummer Night

2000-06-11T14:00:00-04:00

The forest outside Athens is filled with changelings, magic, and ancient myth: in other words, the stage is set. The night is silent and still as four mortals alternately hate and love, monarchs of the faerie world clash wills, and the mischief of one irrepressible woodland sprite weaves a spell over all. The breath of the darkness is lit with the glow of foxfire; hearts are broken and mended within the span of short hours. In the bower of the Faerie Queen a man transformed by magic slumbers peacefully. The pen of William Shakespeare has captured the imagination and hearts of audiences and readers alike across the world and through the decades, but his classic romantic comedy, A Midsummer Night’s Dream, offers something much more profound. Shakespeare has found insight into the heart, and, through his verse, best exemplifies the complicated and capricious emotions found there. The play, much like reality, is sprinkled throughout with gems of humor, and it will continue to fascinate as long as there is love. Shakespeare’s characters are certainly the most important part of A Midsummer Night’s Dream. All action must be carried out through them; all ideas must be transported to the audience through their moves and dialogue. The first and most obvious characters are the four mortal lovers. The women, Helena and Hermia, are respectively tall and fair, short and dark; there are no other notable differences between them. The men, Lysander and Demetrius, have no differences in personality that are remarked upon in the text of the play. Outside the walls of Athens, inside the enchanted forest, the courts of Oberon, king of the faeries, and Titania, his queen, hold sway. The two magistrates quarrel often, but know they are meant for each other, no matter how they scowl. Their adventures include Bottom, a town actor turned into an ass by Oberon to seek revenge on Titania. The last major role in Dream is Robin Goodfellow, more commonly known as Puck. He is mischievous and playful; his role in the faerie court is to entertain Oberon and run his errands, as he tells the faeries in Act 2 when he is introduced. In human nature and all its facets, there is a certain amount of inherent mirth, including sarcasm, and Shakespeare does not neglect this mirth in his writing. First, humor is used as a sort of release valve. When the emotional tension

Sonnet 73 Analysis

2000-05-23T14:00:00-04:00

In "Sonnet 73", the speaker uses a series of metaphors to characterize what he perceives to be the nature of his old age. This poem is not simply a procession of interchangeable metaphors; it is the story of the speaker slowly coming to grips with the finality of his age and his impermanence in time. In the first quatrain, the speaker contrasts his age is like a "time of year,": late autumn, when the "yellow leaves" have almost completely fallen from the trees and the boughs "shake against the cold." Those metaphors clearly indicate that winter, which usually symbolizes the loneliness and desolation, is coming. Here the reader would easily observe the similarity between the season and the speaker’s age. Since winter is usually considered the end of a season, it also implies that the speaker is aging gradually, and he may die very soon. Moreover, the speaker compares his age to the late twilight, "As after sunset fadeth in the west," and the remaining light is slowly extinguished into the darkness, which the speaker likens to "Death’s second self." In the poem, the twilight emphasizes the gradual fading of the speaker’s youth, as "black night" takes away the light "by and by". Once more, the poet anticipates his own death when he composes this poem. But in each of these quatrains, the speaker fails to confront the full scope of his problem: winter, in fact, is a part of a cycle; winter follows spring, and spring returns after winter just as surely. Age, on the other hand, is not a cycle; youth will not come again for the speaker. In the third quatrain, the speaker resigns himself to this fact.] Finally, the speaker compares himself to the glowing remnants of a fire, which lies on the ashes of the logs that once enabled it to burn. In contrast, the love between the speaker and his beloved remains strong even though he may not live long. Here the speaker employs another kind of figurative language, the paradox, to emphasize that their love, unlike the fire, is unalterable and everlasting. The couplet of this sonnet renews the speaker’s wish for their love, urging her to "love well" which he must soon leave. But after the third quatrain, the speaker applauds his lover for having courage and adoration to remain faithful to him. The rhyme couplet suggests the unconditional love between the speaker

Taming of the Shrew

2000-05-23T14:00:00-04:00

William Shakespeare was a playwright, as well as a poet. Shakespeare was born in Stratford upon Avon, Warwickshire, England, 1565 to John Shakespeare, a glover, and Mary Arden of farming stock. Shakespeare was the oldest of his three brothers (there were also four sisters). Shakespeare was educated at a local grammar school, then married Anne Hathaway in 1582. Together they had a daughter, Susanna and twins, Hamnet and Judith. Sbakespeare soon after moved to London to become an actor. During the plague, theatres were closed in fear of spreading disease; Shakespeare wrote poems, sonnets, and

Why Should Students Study Shakespeare in School?

2000-05-17T14:00:00-04:00

Simply stated, students should study Shakespeare's works in school because of the incredible value within them. In addition to exposing students to a multitude of literary techniques, Shakespeare's plays challenge the student with difficult language and style, express a profound knowledge of human behavior and offer insight into the world around us. William Shakespeare is recognized by much of the world as the greatest of all dramatists. The intricate meanings, extensive vocabulary, and powerful imagery contained within his works demonstrate the phenomenal story telling ability of the English playwright. "Shakespeare's use of poetry within his plays to express the deepest levels of human motivation in individual, social and universal situations is considered one of the greatest accomplishments in literary history." School programs offer students the opportunity to study Shakespeare at length and provoke a greater appreciation of his literary ability. Analyzing his work enables students to recognize, understand and respect the playwright's true genius. Evident in Shakespeare's plays is the broad use of irony, imagery, rhythm and other literary devices. Through these devices, he establishes atmosphere and character, and intrigue. Exposure to these devices provides students with a broad knowledge of literary style and technique, while serving to develop and improve writing skills. Also, because much of the modern literary ideas and writings allude to and can be traced back to Shakespeare, familiarity with his works can only be an advantage to the student. Shakespeare wrote his plays to appeal to Elizabethan audiences. Much of the text is dated or archaic and is initially unknown to the typical student. Yet upon thorough study, the student will gain a deeper knowledge and understanding of Shakespeare's words and the English language. Despite the difficulty that dated text presents, the passions and emotions described by Shakespeare touch the hearts of his readers and audience, students included. Vivid imagery and poetic descriptions are presented effectively and have a great impact on the audience. Readers are provided with the opportunity to step into the lives of his characters; to feel their emotions and understand their motivations, a rewarding experience for the student. Although Shakespeare's wrote his plays more than 350 years ago, the relevance of their themes and subjects still exists. The morals and values presented in his works speak to the audience, often offering a new perspective on the world in which they live. Students are affected by the powerful and complex characters and are rewarded with profound insights

The Tempest

2000-03-30T14:00:00-04:00

The importance of the character, language and dramatic significance of Antonio On June 2, 1609, five hundred colonists set out in nine ships from Plymouth in association with the imperial Virginia Company. It was the aim of this expedition to fortify John Smith's colony in Virginia. While eight of the party's vessels securely arrived at Jamestown, the flagship, called the “Sea Adventure” , was conspicuously absent. This ship --which carried the fleet's most valuable cargo, the admiral Sir John Somers and the future governor of Virginia Sir George Somers --was separated from the other eight during a fierce storm off the coast of Bermuda, the legendary Isle of Devils, dreaded by superstitious sixteenth-century sailors. William Strachey describes the tempest which precipitated the ship's "wracke" in a letter dated July 15, 1610: "a dreadfull storme and hideous began to blow from out the North-east, which swelling, and roaring as it were by fits, some houres with more violence than others, at length did beate all light from heaven; which like an hell of darkenesse turned blacke upon us, so much the more fuller of horror." The “Sea Adventure” was rebuilt on the island, which was not as menacing as the storm itself, and nearly a year later the ship rejoined the fleet in Virginia. By many, this was deemed a miracle. Some believe it was this shipwreck that prompted Shakespeare to write this political, yet comic play which involves usurpation, mockery, love, reconciliation and forgiveness. It all starts with Prospero, the rightful Duke of Milan, being banished by his brother, Antonio, who illegally usurps the throne. Basically, the first thing Antonio does in scene I is curse the boatswain: “Hang, cur, hang, you whoreson, insolent noisemaker, we are less afraid to be drowned than thou art.” This already suggests that Antonio is not the nicest of dukes. He is a very authoritative man, he need not do anything, he lets people do it for him. As the ship splits, he still curses the boatswain and does not get involved with the desperate attempts of the mariners to steady the ship. When they find themselves stranded on the remote island, all except Antonio and Sebastian see that which is good around them, Gonzalo remarks how their clothes are surprisingly clean. Antonio and Sebastian mock Gonzalo and the others for seeing good where they only sees rottenness and corruption. Their cynicism clearly show they do not agree,

Twelfth Night - Character study :Malvolio

2000-02-02T13:00:00-05:00

Character study: Malovlio: Did he deserve the punishment that he received? The character Malvolio (meaning literally “I mean ill will) is immediately affected by the implications of his name. His personage is implied directly to be one of negative and somewhat disagreeable nature, which is continued and supported throughout the play, leading to his downfall and mockery which both initially seem to be thoroughly deserved, due to his numerous defects of personality. The first evidence of Malvolio’s undesirable disposition comes with his own first appearance in the play during which he makes a point of insulting the wit and intelligence of Feste “I marvel your ladyship takes delight in such a barren rascal”. Through doing this he shows himself to be man who condescends to those that he believes to be lower than him in any way, by acting on his own personal belief of superiority, and this later becomes a major player in his downfall. Initial impressions are supported by further vices in Malvolio’s general character and these lead to further aversion to him. He shows himself to be a strict puritan and this is also suggested by the opinion of Maria “The devil a puritan that he is”. He denies himself indulgences and pleasure whilst at the same time begrudging these things of others. He makes a point of taking the moral high ground over Maria, Feste and more importantly, his social superior Sir Toby, when he scorns them for their revelries and “disorders”. This in turn adds to their desire to avenge him and bring him from his level of false authority, back to his true social class of a mere steward at which he is unable to give out orders, but only to receive them. Although he is a man of supposed purity and self-denial in practise, his aspirations are such that he becomes hypocritical. In turn he makes his character one of further malevolence. He secretly longs for the life of a man higher in social status and fancies that through the love of Olivia, he could become such a person “having come from my day bed, where I have left Olivia sleeping ”. At the same time he has great, worldly ambitions which are strictly against the puritan philosophy. This longing for new superiority and strong belief that he will gain it, causes him to be open for trickery and thus provides the starting point of the punishment

Comedy in A Midsummer Night's Dream

2000-01-09T13:00:00-05:00

"why do they run away? This is a knavery of them to make me afeard."(3.1.99) This is a quote from the Shakespearean play "A Midsummer Night's Dream." In this quote, the speaker, bottom, is wondering why everyone is afraid of him. He doesn’t realize that as a practical joke, a trickster Puck, has put an ass head on his shoulders as a joke. This makes all of his companions afraid of him so that they run away. This is an example of the comedy involved in this play. This essay will show you that A Midsummer Night’s Dream is a play that is mainly composed of comedy. The funniest part of this play seems to be when Puck, the trickster, keeps mixing up the people who he is assigned to put the love juice on. Even when he did put the love juice into the right people’s eyes, they still fell in love with the wrong people sometimes. The first example of this mistake of Puck’s is where he puts the love juice in Lysander’s eyes, mistaking him for Demetrius. Oberon tells Puck to put the love juice in the eyes of an Athenian man, Demetrius, and to make sure that the first thing he sees after this is the woman whom he hates, but who loves him so much, Helena. Puck ends up finding Lysander and Hermia, lovers, sleeping on the forest floor. He puts the love juice in Lysander’s eyes and leaves. Then along come Helena and Demetrius to this spot. They are still arguing and Demetrius leaves her with the sleeping Lysander and Hermia. Helena notices them there and tries to wake Lysander. Lysander wakes and the first thing he sees is Helena. "And run through fire for thy sweat sake. Transparent Helena! Nature shows art, That through thy bosom makes me see thy heart."(2.2.103). This is what Demetrius says to Helena when he sees her. He has fallen in love with her. This is where the comedy of this love mix up begins. Now Helena is confused and thinks that Lysander is playing a trick on her so she runs away. This is a most particularly funny part of the play and these mix ups with whom loves who seem to be the funniest pieces of the play. Another funny section in this play is where Puck puts an ass head on the shoulders of Bottom. This happens

King Henry IV Part 1 - Hal

1999-12-13T13:00:00-05:00

Shakespeare gives the reader the opportunity to view the timeless duplicity of a politician in Prince Hal of Henry IV, Part 1. Instead of presenting a rather common hero, Shakespeare sharpens the both sides of the sword and makes Hal a deceitful prince. In order to portray accurately the treachery and fickleness of Hal, Shakespeare must provide Hal with models to follow, rivals to defeat, and a populace to convince. Although Hal would not have to grovel for votes from England's populace to become king, he does understand the problems of being an unpopular ruler from witnessing his father's problems. So Hal needs to persuade a general population that he is competent in order to remain a king once he has obtained the throne. Shakespeare wants the play to seem sympathetic to Hal, and he wants Hal to convince the audience (populace) himself. Therefore, Hal's fraudulence is hidden in undertones and slips of the tongue which he makes throughout the play. The first indication of this comes at his soliloquy in Act 2, Scene 1. It would be impossible for a reasonable man to have boozed and bummed all of his teen years and suddenly renounce his life and become reborn. There is an amoral quality to Hal that allows him to change allegiances as political winds would call it wise. But it is not just amorality that makes Hal a politician - he desires power as well. His amorality culminates in his eulogies for Hotspur and Falstaff with the greatest grasp of power he makes in the play. After he gives them and Falstaff is found alive, he realizes that he has made a slight blunder and backs off a bit, allowing Falstaff some room to remain. But while he delivers them, he is at his best, being the worst. His basic behavior appears king-like, but the subtleties show his utter disregard for those who love him and his calculating mind making political estimates so that he can secure the throne. Even though Hal is an amoral huckster, he must be able to convince others of his worthiness for the play to work. Therefore, Shakespeare must spend most of Hal's speeches using a convincing tone. He will use the overtones and most of the direct meanings of what Hal says to convey a thoughtful prince; he will use the undertones and occasional slips to give insight to the reality of Hal's

A Midsummer Night’s Essay

1999-12-04T13:00:00-05:00

This play reaction is written about William Shakespeare’s A Midsummer Night’s Dream. The play is a comedy and it was copyrighted in 1974, it was published by the Houghton Mifflin Company. In this particular book the play starts on page 222 and ends on 246. The opening of the play is the reader finds out the basic environment that they’re in and the Duke (Theseus) is proclaiming that he shall be wed to the Queen of the Amazons (Hippolyta) in five days. The reader also learns (in the exposition) about most of the characters that are in the play. The exciting force basically begins when Egeus brings his daughter (Hermia) to the Duke, but she is already in love with Lysander. Hermia’s father is completely aware, and against the entire relationship between the two and he demands that Hermia be judged by the Duke and he tells her that if she doesn’t marry Demetrius (her fathers choice for a husband) she will die unless she wants to live her entire life a virgin. This situation results in the decision for Hermia and Lysander to elope, in a distant wood outside of Athens. When the couple elopes the admirers (people who have crushes on Hermia and Lysander) follow them into the woods where the climax takes place. Puck is sent out to give one Athean man a love potion. When Puck is sent out to do so he gave the potion to a sleeping and unaware Lysander. When Lysander awakes he saw Helena (the admirer of the admirer of Hermia, Demetrius) and falls completely in love with her. Meanwhile Hermia is wondering what happened to her love. In the falling action Puck fixes what he has done wrong , and all the lovers are extremely confused. Then all the couples marry one another and all live happily ever after. The main characters in the play are Hermia, Lysander, Helena, and Demetrius. Hermia is the daughter of Egeus and the mutual lover of Lysander. She is a very beautiful,nice, and free spirited girl. Lysander is madly an love with Hermia but Egeus says that he is not fit to be her suitor because Egeus believes that Lysander is just interested in . . . "play". In all actuality Lysander is really in love with Hermia. Helena is madly in love with Demetrius and there is nothing anyone can do to dissuade her in her feelings. Demetrius

Merchant of Venice Character Diary - Shylock

1999-12-01T13:00:00-05:00

Today Bassanio came up to me asking for my moneys. Later on I told him that I would lend him the moneys without any interest. I was very cautious in the repeating of his demands. Antonio is naive risking his life hoping the ships will return. I am clever because I am using this opportunity to get revenge. I made Bassanio nervous when I called Antonio a good man and they both probably knew the meaning. I'll show Antonio when his ships fail to return. Lancelot is getting on my nerves again. He is snail-slow in profit and he sleeps by day. My daughter seems to want to get out of the house and might be getting annoyed with me. I am sure that it is just a phase. Because it meant that Bassanio would lose even more of the money he borrowed I decided to attend the feast with all those creepy masks. I took no pleasure in it but I intend to ruin Bassanio. Bassanio will have all the ducats spent in no time. I forgot about my anger over my daughter's flight when I heard about Bassanio's ship wrecked in the English Channel. I then quickly remembered my daughters leaving when Tubal came to me with information on Jessica's reckless spending of my moneys. My heart was broken when I heard about I exchange for a monkey, she traded the ring that was a gift from my wife to me. I should have seen this coming. My hate turned into a disaster in only a short time today. First, Bassanio offered me double the money that was borrowed, but I was too stubborn to accept and reminded the court that the flesh was mine by law. I looked into Antonio's eyes and he seemed to have felt that he deserved what should have come. As I was sharpening my knife, Gratiano started abusing me. I guess I deserved what was happening but what happened next I'm not sure of. A lawyer came in and seemed to be on my side until she mentioned that I could only take Antonio's flesh, no blood. I was shocked to hear this but I then tried to accept the double amount but knew it was too late because that wasn't written on the bond. If that was

The Taming Of The Shrew

1999-11-27T13:00:00-05:00

The Taming Of The Shrew by William Shakespeare is probably one of Shakespeare's earliest comedies. Its plot is derived from the popular 'war of the sexes' theme in which males and females are pitted against one another for dominance in marriage. The play begins with an induction in which a drunkard, Christopher Sly, is fooled into believing he is a king and has a play performed for him. The play he watches is what constitutes the main body of The Taming Of The Shrew. In it, a wealthy land owner, Baptista Minola, attempts to have his two daughters married. One is very shrewish, Katherine, while the other is the beautiful and gentle Bianca. In order to ensure Katherine is married, Baptista disallows Bianca to be espoused until Katherine is wed, forcing the many suitors to Bianca to find a mate for Katherine in order for them to vie for Bianca's love. Many critics of the play condemn it for the blatant sexist attitude it has toward women but closer examination of the play and the intricacies of its structure reveal that it is not merely a story of how men should 'put women in their place'. The play is, in fact, a comedy about an assertive woman coping with how she is expected to act in the society of the late sixteenth century and of how one must obey the unwritten rules of a society to be accepted in it. Although the play ends with her outwardly conforming to the norms of society, this is in action only, not in mind. Although she assumes the role of the obedient wife, inwardly she still retains her assertiveness. Most of the play's humour comes from the way in which characters create false realities by disguising themselves as other people, a device first introduced in the induction. Initially this is accomplished by having Christopher Sly believe he is someone he is not and then by having the main play performed for him. By putting The Taming Of The Shrew in a 'play within a play' structure, Shakespeare immediately lets the audience know that the play is not real thus making all events in the play false realities. Almost all characters in the play take on identities other than their own at some point of time during the play. Sly as a king, Tranio as Lucentio, Lucentio as Cambio, Hortensio as Litio and the pedant

Similarities between Hamlet and King Lear

1999-11-24T13:00:00-05:00

There are a lot of similarities in the two Shakespeare plays HAMLET and KING LEAR. I guess its because of the style in which Shakespeare wrote. William Shakespeare wrote three kinds of stories: comedy, tragedy and history. Both of these books are tragedies and they are very similar tragedies. In both of these stories there is a feud going on within the family. And in both the feud is between the children and their parents or relatives. Hamlet is looking for the revenge on his uncle for killing Hamlets father and hes upset with his mother marrying the murderer. Here Lears evil daughters try to completely destroy their father. Lear calls his daughters and asks them who loves the most. Regan and Goneril lie just to get Lears land and power. Cordelia honestly answers Lear and for that is given away to France, because Lear has gone out of his mind. After Lear gives out almost all his land he realizes his wrongdoing and tries to restore his power. But now its too late, because his daughters already took away all the land. He sees how evil his daughters really are and they dont love him at all, so he curses them. Now Lear appears to be crazy from his actions, but in reality he exactly knows what is going on. Hamlet saw the ghost of his father and it told Hamlet that his uncle killed him to become the king. This shows that the person will even commit murder to get control of the country, just like we see in KING LEAR. After the ghost appeared to Hamlet, he started to act like he was crazy. But just like Lear, in reality he wasnt crazy, he was thinking of how to get back at his uncle. The endings of both stories are very similar. Besides the fact that all the main characters in both stories die, its how they die that's interesting. Because Goneril wants to get Edmund, she poisons her sister Regan. Hamlets uncle wants to poison Hamlet, but by mistake he poisoned his wife, Hamlets mother. Hamlet by mistake kills his uncle servant Polonius. Because of the death of her father Ophelia (Polonius daughter) goes insane and later kills herself. Because Gonerils plan didn't work, she kills herself. At the end there is a duel between Edgar and Edmund, where Edgar kills his bastard brother. At the end of

Falstaff

1999-11-07T13:00:00-05:00

Romanticism, as stated in the American Heritage Electronic Dictionary is, "An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions." Falstaff is the ideal romantic character. In an article written by Harry T. Baker titled, "The Two Falstaffs" Baker writes against all the critics who claim that the Falstaff from Henry IV parts I and II is a different character then the Falstaff in The Merry Wives of Windsor. He believes that, "although, as the critics declare, Falstaff is not himself, this is due to the [change in] situation, not to the inconsistency of character portrayal." In Henry IV parts I and II we see Falstaff as the romantic character that is stated in the definition above, defying everything that the Classical character, Prince Hal, stands for and believes.. He refuses to take life seriously. He believes that "War is as much of a joke to him as a drinking bout at the Boar's Head." He uses people solely for his own purposes, either for money or for food and drink. He is rude and crude to all those around him and is one of the best liars who continually gets caught in his lies but makes new ones to cover for the old failed ones. Yet Baker states that, "His presence of mind and quickness of retort are always superb; his impudence is almost sublime. Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety. Falstaff creates around his capacious bulk a sort of Utopia which frees us temporarily from the worries and troubles of the actual world. What does it matter that Falstaff ridicules chivalry, honor, truth-telling, and bravery in battle? He is not to be taken seriously...he is a wholly comic character." At the end of Henry IV part II we can see what happens to Falstaff when he is surrounded by reality, he is caught off guard and is out of place. Baker states that when Falstaff is entangle with the realities of life "he cannot shine." We see this first at the coronation of Hal, once his friend in mischief, when Falstaff is told,

Richard the Third

1999-10-02T14:00:00-04:00

"What qualities of character did Richard III have that enabled him to ascend the throne?" Name and show these characteristics in action in the play Richard III. Also: "Richard III is a consummate villain". Show that his summation of Richard's character is true. To achieve goals, in one's life, one must be determined and must have certain characteristics that reciprocate to one's goals. In the play Richard III, Richard III's goal is to ascend the throne. There are two ways that one can claim the throne, by birthright, or by might. Since Richard III cannot claim the throne by right he must therefore take it by might. To accomplish this goal Richard Duke of Gloucester must be determined to achieve his goal at all costs and he must have the characteristics to meet his determination. In the first scene of the play, Richard announces in a narration, his plan to become king. Richard plainly states that he is "Deformed, Unfinished, and sent before his time" and "since he cannot prove to be a lover; he is determined to prove a villain." As a villain Richard must be heartless, he cannot let his emotions interfere with his actions. He must also be intelligent and organized; a villain must know exactly what he has to do, when he has to do it and how he is going to do it. A villain must also be manipulative and persuasive so that if he is accused of a crime or if he finds himself between a rock and a hard place he is able to talk his way out or convince people that he did not commit the crimes in question. A villain must also have scapegoats to use if he is discovered or if he is in a dangerous situation. Richard devised a brutal stratagem to ascend the English throne. Brilliantly, he executed his plan. Heartlessly, he executed family, friends, and subjects. Richard did indeed display these characteristics and therefore fulfilled his goal to ascend the throne, as you will see in the paragraphs below. With his elder brother, King Edward IV, dying, Richard believes himself to be the most qualified to rule. He sets his plan to ascend to the throne into action. The first step was to lock up the rightful heir, his other brother George, Duke of Clarence, in the tower. He demonstrates his manipulation skills and plants the seeds of

Tempest Character Analysis

1999-09-25T14:00:00-04:00

William Shakespeare's last play The Tempest is a story about Prospero (the rightful duke of Milan). He is betrayed by his brother Antonio and left on a ship with his daughter Miranda to die. Only things are not going according to plan and Prospero and Miranda arrive on an island. Prospero is seeking his revenge. Coming back from a wedding in Africa a ship containing Prosperos enemies is attacked by the tempest and scatters its passengers about the island. Prospero uses three major character traits throughout the story including being powerful, protective and forgiving that will help him gain his place back in Milan. Prospero is a very powerful person and using his spell books he is able to conjure up some mighty magic. Possibly the most powerful thing he controls is Ariel (a spirit). An example of this is when Prospero says "Hast thou, spirit, Preformed to point, the tempest I bade thee".(718) Ariel had the power to create a great sea storm and Prospero had the power to control Ariel which gave him great power. Another reason why Prospero is powerful is because of his knowledge of Caliban, Stephano, and Trinculos plot to kill the king. So when Prospero reclaims his place in Milan again he'll have some mighty blackmail just incase he needs any favors or they try any thing stupid. This way they'll think twice before going against Prospero. Especially considering that Miranda will become queen. These are the reasons why Prospero is powerful. Prospero is protective of those who are close to him especially Miranda. Throughout The Tempest Prospero slowly makes sure Ferdinands and Mirandas love wont faid quickly. Prospero even called Ferdinand a traitor just to make Miranda seem harder to get. This way the couple wouldn't become a lost cause. When Prospero says "They are both in either's powers. But this swift business I must uneasy make lest too light winning make the prize light" (726) he is revealing his true plan to Ariel that he wants to make Miranda harder to get. This is because Prospero feels their love will be stronger if it is harder to obtain. Prospero is also protective when he says "the strongest oaths are straw to th' fire I' th' blood"(764) this was said to Ferdinand after Prospero makes him promise not to have sex with Miranda before they are married. He is stunned to see that after his

Hermia and Helenas relationship (Midsummer Nights Dream)

1999-09-12T14:00:00-04:00

To what extent has the love potion affected the relationship between Helena and Hermia? Hermia and Helena's relationship has changed greatly after the intervention of Puck with the love potion. Once best friends, they have become each others enemies, and all for the love of Lysander and Demetrius. Hermia and Helena were best friends when they were at school. "All school-days' friendship, childhood innocence?" (Act 3, Scene 2, Line 201, Helena) They had complete trust in each other, telling each other their deepest secrets. "Is all the counsel that we two have shared, The sisters' vows, the hours that we have spent," (Act 3, Scene 2, Lines 198 - 199, Helena) They worked together on everything they did including sewing and singing. "Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key," (Act 3, Scene 2, Lines 205 - 206) To some people, Helena and Hermia became the same person, saying the same things, thinking the same thoughts and having the same morals and principles. "As if our hands, our sides, voices, and minds Had been incorporate. So we grew together," (Act 3, Scene 2, Lines 207-208) Behaving in the same way, they spent as much time as possible together. This time passed quickly, whilst the time spent apart was slow and seemed pointless. "When we have chid the hasty-footed time For parting us-O, is all forgot?" (Act 3, Scene 2, Lines 200 - 201, Helena) Although Helena and Hermia were two separate people, they were, "a union in partition", compared to a double cherry. "Two lovely berries moulded on one stem." (Act 3, Scene 2, Line 211, Helena) Their friendship was so strong that they seemed to be connected, the same person in two different bodies. "So with two seeming bodies, but one heart," (Act 3, Scene 2, Line 212, Helena) This had lasted all their lives until the intervention of Lysander and Demetrius. The strong friendship between Helena and Hermia quickly disintegrated when they became involved with the two men. The love potion was meant to help, but Puck's mistake managed to completely reverse the relationship. When both Demetrius and Lysander were under the influence of the "love-in-idleness" flower, Helena believed that both were mocking her. "You both are rivals and love Hermia And now both rivals, to mock Helena." (Act 3, Scene 2, Lines 155 - 156, Helena) When Hermia seems to take the same attitude, even though she doesn't know what's going on, Helena accuses her of betraying all women

Richard II - Silence is the Plot

1999-08-09T14:00:00-04:00

In this play of challenge and debate, could it be possibly suggested that King Richard had a part to play in the murder of his uncle the Duke of Gloucester? Could the reader possibly pick up this assumption having known nothing about the play? These are all factors that one must find by reading in between the lines, noticing and understanding the silence that is exchanged. For the silence is just as important as the speech. Why is it assumed that King Richard II has anything to do with the murder? Let us review a scene from the play were Gaunt accuses Richard of being accountable for Gloucester's death.

"Gaunt: O, spare me not, my [brother] Edward's son, For that I was his father Edward's son, That blood already, like the pelican, Hast thou tapp'd out and drunkenly carous'd. My brother Gloucester, plain well-meaning soul, Whom fair befall in heaven 'mongst happy souls, May be a president and witness good That thou respect'st not spilling Edwards blood." (II.i)

That passage simply states: You may be a king, but you could have respected my brother enough not to kill him. There is also another quote were Mowbray indirectly suggests that the King is also at fault.

"Mow: O, let my sovereign turn away his face, And bid his ears a little while be deaf, Till I have told this slander of his blood, How God and good men hate so foul a liar." (I.i)

Yet with saying this remark about the King, he also begs for his innocence.

"Mine honor is my life, both grow in one, Take honor from me, and my life is done. Then, dear my liege, mine honor let me try; In that I live, and for that I will die." (I.i)

These passages indirectly state that King Richard II is at fault for the death of his uncle. But for the reader to see this they must break down the play and search for those "hidden meanings". For the ordinary reader, who does not search, the text clearly states that the fight for innocence is distinctly between Bullingbrook and Mowbray. Such an example can be found in Act I:

"Bull: That he [Mowbray] did plot the Duke of Gloucester's death, Suggest his soon-believing adversaries, And consequently, like a traitor coward, Sluic'd his innocent soul through streams of blood."

The rest of the dialogue converses back and forth between

Shakespeare and Kingship

1999-08-06T14:00:00-04:00

In writing his history plays, Shakespeare was actually commenting on what he thought about the notion of kingship. Through his plays, he questions the divine right of kings, which the kings and the aristocracy used heavily in their favour to win the people's love. In Macbeth, King Richard II and King Henry IV part 1, Shakespeare shows us his opinion of kingship in general. Although the plays are written about individual kings, I think that Shakespeare used the plays as an opportunity to voice his opinion on kings and kingship in general. This was assisted by the fact that he was not prohibited by the true events, because it is well known that all of Shakespeare's plays were written purely for entertainment value, not as a historical record of what occurred. The main notion of kingship that Shakespeare attacks in Macbeth, King Richard II and King Henry IV, is the divine right of kings, where the kings claimed that they were God's counterpart on Earth, and a 'step up' in divinity from the other aristocrats and the common people. In his plays, Shakespeare depicts the kings, and Hal, in King Henry IV, as people who were not, or at least did not act like the direct descendants of God. In Macbeth, he commits treason and murder, the two worst crimes of the day, and neither Duncan nor Macbeth were saved by God, who, according to the theory of the divine right of kings, should have saved Duncan and then Macbeth. When they were killed, they were both king, and therefore the right-hand man of God, the creator, who controls the entire world and who could have stopped them from being killed. In Richard II, Richard bankrupts the country with his blatant mismanagement and his excessive spending on his 'favourites', who are already rich aristocrats, while ignoring the common people who are living in poverty. Richard's behaviour leads to both the aristocracy and the common people disliking him. The aristocrats disliked him because he was bankrupting the country, which they did not like because they were proud to be English and wanted their country to dominate for many more years. The common people disliked Richard because they were living in poverty while Richard was spending huge amounts of money on people who were already wealthy. What Richard did is not the sort of behaviour that is expected from God's representative on Earth, and Shakespeare

Richard II

1999-08-06T14:00:00-04:00

The problem with Richard is that he is not really a man of action; he confronts and deals with difficulties by internalising and talking about them. Richard is not at all a man of his action. Whenever a problem arises, he internalises and talks to himself or the surrounding people, but does not do anything to resolve the problem. He is not ready to stand up and do something about it, and instead complains about the situation to himself. I think that it is because of this trait that Richard loses the kingship of England, and Bolingbroke, a man who is always ready to take action when a problem arises wins the throne over Richard. In the first scene, where Bolingbroke accuses Mowbray of killing Gloucester, Richard plays a major part in the action and at first look, I think that the reader could think that Richard is in fact a 'man of action' because of his handling of the Mowbray-Bolingbroke situation. When Richard pronounces that Mowbray and Bolingbroke shall fight to the death "At Coventry upon St. Lambert's Day" (I, i, 199), the reader could mistake this act of 'showmanship' as the act of a leader who was ready to stand up and take action when a problem arose. However, as we see later, in Act 1 scene 3, Richard's order for Mowbray and Bolingbroke's lives to answer their accusations was only to fuel Richard's own desire to be the centre of attention; it was his 'showman' quality that lead him to do this, not his ability to take action when a situation that required good leadership skills arose. In Act 3, scene 2, Richard, on his return to England, finds that his 'favourites' (Bushy, Bagot and Greene) have all been killed by Bolingbroke. Richard is struck down with immense sorrow and self-pity and illustrates very clearly his passive nature. Instead of becoming extremely angry and wanting revenge for his friends' deaths, he says that they should "sit upon the ground / And tell stories of the death of Kings" (III, ii, 155-156), and talk only of death and other morbid topics. When someone is murdered, people that knew them usually become very angry towards the murderer and often try to seek revenge. In 'Richard II', Richard, the king of England, has had his best friends, his 'favourites' killed by his worst enemy, a person he had banished from the country, a

Richard II

1999-08-06T14:00:00-04:00

When Bolingbroke accuses Mowbray of murdering the Duke of Gloucester, Richard knows that there is a chance of Mowbray telling about Richard's involvement in the crime. Gaunt also understands Richard's position but he also knows that there is no stopping Richard, because "... correction lieth in those hands / which made the fault that we cannot correct" (I, ii, 4-5). Richard is seen as God's representative on Earth and only Richard can punish himself, so it is a matter only God can resolve. "God's is the quarrel - for God's substitute, His deputy anointed in His sight, Hath caus'd his death..." Although Gaunt seems satisfied with this fact in Act I, scene ii, later, from his deathbed he seems more dissatisfied with this and reminds Richard that "... violent fires soon burn out themselves" (II, i, 34) and tells him that "His rash fierce blaze of riot cannot last"(II, i, 33) Lady Gloucester, however, thinks that Richard can be stopped and thinks that he must be stopped by Gaunt. She thinks that if Richard is not stopped, he will continue to kill, and Gaunt could be next. " ... To safeguard thine own life / The best way is to venge my Gloucester's death." (I, ii, 35-36) Richard could have allowed Bolingbroke and Mowbray to fight to the death, but if he had allowed this and if Bolingbroke had won, Richard's full part in the murder could be exposed. On the other hand, if Mowbray had won, Richard would be in debt to him even more so than he already was. The only other option was to exile both Bolingbroke and Mowbray, stopping both from exposing Richard's part in the murder. Richard chooses at first to allow them to fight to the death "... Your lives will answer it, / At Coventry upon St. Lambert's Day" (I, i, 198-199). He allows the fight at first to go ahead, but shortly before the first blow is struck, Richard calls a halt to the fight and exiles them both, claiming "... Our kingdom's earth should not be soil'd / With that dear blood that it hath fostered" (I, iii, 125-126). Bolingbroke is exiled for 10 years, which Richard consequently lowers to 6, and Mowbray is exiled for life. The way that Richard first forbids Bolingbroke and Mowbray to fight to the death, saying, "Our doctors say this month is no month to bleed" (I, i, 157). Then, later in the

Antony and Cleopatra: The Role of Enobarbus in Acts I and II

1999-01-22T13:00:00-05:00

In Shakespeare's tragedy/history/Roman play Antony and Cleopatra, we are told the story of two passionate and power-hungry lovers. In the first two Acts of the play we are introduced to some of the problems and dilemmas facing the couple (such as the fact that they are entwined in an adulterous relationship, and that both of them are forced to show their devotion to Caesar). Along with being introduced to Antony and Cleopatra's strange love affair, we are introduced to some interesting secondary characters. One of these characters is Enobarbus. Enobarbus is a high-ranking soldier in Antony's army who it seems is very close to his commander. We know this by the way Enobarbus is permitted to speak freely (at least in private) with Antony, and often is used as a person to whom Antony confides in. We see Antony confiding in Enobarbus in Act I, Scene ii, as Antony explains how Cleopatra is "cunning past man's thought" (I.ii.146). In reply to this Enobarbus speaks very freely of his view of Cleopatra, even if what he says is very positive: ...her passions are made of nothing but the finest part of pure love. We cannot call her winds and waters sighs and tears; they are greater storms and tempests than almanacs can report. This cannot be cunning in her; if it be she makes a shower of rain as well as Jove. (I, ii, 147-152) After Antony reveals that he has just heard news of his wife's death, we are once again offered an example of Enobarbus' freedom to speak his mind, in that he tells Antony to "give the gods a thankful sacrifice" (I.ii.162), essentially saying that Fulvia's death is a good thing. Obviously, someone would never say something like this unless they were in very close company. While acting as a friend and promoter of Antony, Enobarbus lets the audience in on some of the myth and legend surrounding Cleopatra. Probably his biggest role in the play is to exaggerate Anthony and Cleopatra's relationship. Which he does so well in the following statements: When she first met Mark Antony, she pursed up his heart, upon the river of Cydnus. (II.ii.188-189) The barge she sat in, like a burnished throne, Burned on the water: the poop was beaten gold; Purple the sails, and so perfumed that The winds were lovesick with them; the oars were silver, (II.ii.193-197) And, for his ordinary, pays his heart For what his eyes eat only. (II.ii.227-228)

The Changing Role In Viola/Cesario In The Twelfth Night

1999-01-22T13:00:00-05:00

In Shakespeare's "Twelfth Night", it is clearly evident that the fluctuation in attitude to the dual role and situation and tribulations imposed upon the character of Viola/Cesario ends up in a better understanding of both sexes, and thus, allows Viola to have a better understanding for Orsino. Near the opening of the play, when Viola is adopting her male identity, she creates another self, like two masks and may decide to wear one or the other while swinging between the two identities in emotion and in character. She decides to take on this identity because she has more freedom in society in her Cesario mask, which is evident when she is readily accepted by Orsino, whereas, in her female identity she would not be. Thus, a customary role in society and to the outlooks of others is portrayed. Orsino sees Cesario, as a young squire just starting out in the world, much like himself as a young, spry lad, so he has a tendency to be more willing to unload onto her with his troubles and sorrows, seeking a companion with which to share and to teach. Thus, Viola grows in her male disguise to get a better feeling for his inner self, not the self that he shows to the public, or would reveal and share with Viola in her true female self, but rather his secret self, as he believes he shares with a peer. So, she grows to love him. But, Orsino's motivation is actually not love for Viola, but rather he seems to be in love with love itself. His entire world is filled with love but he knows that there might be a turning point for him, like when he says: If music be the food of love, play on; give me excess of it, that, surfeiting, the appetite may sicken, and so die. 1. (I,I,I-III) This quote shows that he knows that he is so caught up in "love", that he hopes his appetite for love may simmer when he takes more than he can handle. 1. Shakespeare, William. Twelfth Night. Longman's Canada Limited, Don Mills, Ontario, 1961. All subsequent quotes are from this edition. Near the end of the play, when all tricks and treacheries are revealed and all masks are lifted, Orsino "falls" in love with Viola. He first forgives her/him of her/his duty to him, the master; then says that she shall now be her master's

Shakespeare and his Theater

1999-01-22T13:00:00-05:00

Compared to the technical theaters of today, the London public theaters in the time of Queen Elizabeth I seem to be terribly limited. The plays had to be performed during daylight hours only and the stage scenery had to be kept very simple with just a table, a chair, a throne, and maybe a tree to symbolize a forest. Many say that these limitations were in a sense advantages. What the theater today can show for us realistically, with massive scenery and electric lighting, Elizabethan playgoers had to imagine. This made the playwright have to write in a vivid language so the audience could understand the play. Not having a lighting technician to work the control panels, Shakespeare had to indicate wether it was dawn or nightfall by using a speech rich in metaphors and descriptive details. Shakespeare's theater was far from being bare, the playwright did have some valuable technical sources that he used to the best of his ability. The costumes the actors wore were made to be very elaborate. Many of the costumes conveyed recognizable meanings for the audience such as a rich aristocrat wearing silk clothes with many ruffles. Many times there were musical accompaniments and sound effects such as gunpowder explosions and the beating of a pan to simulate thunder. The stage itself was also remarkably versatile. Behind it were doors for exits and entrances and a curtained booth or alcove useful for actors to hide inside. Above the stage was a higher acting area which symbolized a porch or balcony. This was useful in the story of Romeo and Juliet, when Romeo stood below Juliet and told her how he loved her. In the stage floor was a trap door which was said to lead to "hell" or a cellar, this was especially useful for ghosts or devils who had to appear and disappear throughout the play. The stage itself was shaped in a rectangular platform that projected into a yard that was enclosed by three story galleries. The building was round or octagonal in shape but Shakespeare called it a "wooden O." The audience sat in these galleries or else they could stand in the yard in front the stage. A roof and awning protected the stage and the high-priced gallery seats, but in the case bad weather, the "groundlings," who only paid a penny to stand in the yard, must have gotten wet. The Globe

Richard III

1999-01-22T13:00:00-05:00

"The tragedy of Richard III lies in the progressive isolation of its protagonist". Discuss. From the very opening of the play when Richard III enters "solus", the protagonist's isolation is made clear. Richard's isolation progresses as he separates himself from the other characters and breaks the natural bonds between Man and nature through his efforts to gain power. The first scene of the play begins with a soliloquy, which emphasizes Richard's physical isolation as he appears alone as he speaks to the audience. This idea of physical isolation is heightened by his references to his deformity, such as "rudely stamp'd...Cheated of feature by Dissembling Nature, deformed, unfinished. This deformity would be an outward indication to the audience of the disharmony from Nature and viciousness of his spirit. As he hates "the idle pleasures of these days" and speaks of his plots to set one brother against another, Richard seems socially apart from the figures around him, and perhaps regarded as an outsider or ostracized because of his deformity. His separation from is family is emphasized when he says "Dive, thought's down to my soul" when he sees his brother approaching. He is unable to share his thought with his own family as he is plotting against them. Thus, we are given hints of his physical, social and spiritual isolation which is developed throughout the play. But despite these hints, he still refers to himself as part of the House of York, shown in the repeated use of "Our". The concept of Richard's physical isolation is reinforced in his dealings with Anne in Act I scene ii. She calls him "thou lump of foul deformity" and "fouler toad" during their exchange. Despite these insults, she still makes time to talk to Richard, and by the end of their exchange, she has taken his ring and been "woo'd" by him. After Richard has successfully gained the throne, he isolates himself when he asks the crowd to "stand all apart" in Act IV scene ii. And later, when Richard dreams, he is completely alone. Physical isolation in Richard's deformity wins sympathy from the audience as we pity his condition. But Richard uses his deformity as a tool against the other characters, to portray them as victimizing Richard. Thus the sense of tragedy is lessened by his own actions, even though his isolation may become greater as the play progresses. Richard's psychological isolation is conveyed through his lack

To Tame A Shrew

1999-01-22T13:00:00-05:00

In Shakespeare's Taming of the Shrew, one topic that has been debated, interpreted, discussed, reinterpreted and adapted into different forms has been the character of Katharina, the shrew, and whether she was tamed, liberated, or just a good enough actress to make Everyone think she was in fact, tamed. In this essay, I will present arguments for and against each of these points, as well as discuss one television adaptation of Taming of the Shrew that presents Katharina not as the expected shrew, but as Petruchio's tamer. Katharina: The Whipped Shrew There is evidence that supports Katharina was tamed by Petruchio. For instance, in the opening of the play, Katharina is very vocal and aggressive. Men, women and children trembled whenever she came around, including her father and sister. By the end of the play, however, she is presented as being mild and submissive to Petruchio, leading up to her greatest speech in the dialogue of the play: Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience; Too little payment for so great a debt. (5.2.146-154) In looking at this outtake of Katharina's speech, it can be seen that she has been tamed by Petruchio's actions throughout the first four acts. It is difficult to take Katharina's message here and say, "She is still the same person." Her monologue reveals that she now sees it is her duty to respect her husband and to be submissive to him. Her speech leads the audience to see that this duty of the wife is one that is a repayment to the husband for all the hard work he does to support her, a debt that the wife could never possibly repay. Reasons why Katharina might not have been tamed can be found in the fact that the play takes place in what seems to be just a few days. One must ask the question: Is it possible to cause such a great change in a person's behavior in such a short amount of time as this? It is very unlikely that it is possible, since Katharina, by the opening of the play, is at least 20 years

The Tempest - Bringing it all together

1999-01-22T13:00:00-05:00

The Epilogue of the Tempest by William Shakespeare is an excellent-if not the best-example of Shakespeare's brilliance. In 20 lines Shakespeare is able to write an excellent ending to his play, while speaking through his characters about Shakespeare's own life and career. Even more amazingly, he seemlessly ties the two together. In the context of the story Prospero's monologue makes perfect sense. He has lost his magical power, so his "charms are o'erthrown, and what strength [Prospero] have's [his] own, which is most faint." He is now "confined" on the Island, for his other choice would be to go to Naples and reclaim his dukedom, but he doesn't want to do that because he has already "pardoned the deceiver" who took his position many years ago. Prospero then says something a little strange, but it makes sense in the context of the story, he ask us to "release [him] from [his] bands with the help of your good hands." In other words, clap so that the sails of the boats his friends are riding in will be safely returned and Prospero can be "relieved by prayer" of the audience. All of what Prospero has said is very nice cute, but the most interesting part of this monologue is what Shakespeare himself is saying. "Now that my charms are all o'erthrown, and what strength I have's mine own" means, now my plays are over, and it's no longer my characters speaking. The "Island" or stage Shakespeare is on is now "bare" and it is time for "you" the audience to release Shakespeare and his actors from this play with the "help of [y]our good hands." Shakespeare was not only being released for the performance of the play, he was being release from his career as a playwright. But there are more reasons to clap besides the obvious reason that the play is over, Shakespeare could not allow his final play to be bad, his project "was to please." He reiterates this point by saying "and my ending is despair unless I be relieved by prayer", or the clapping of the audience and it frees "all faults" and allows Shakespeare to indulge the clapping and joy of the audience. Finally, after we seperate the two different perspectives, we can step back and see how Shakespeare magically works them together. The first such pun is on the word "faint", in the third line. Prospero uses faint

The Tempest: Review

1999-01-22T13:00:00-05:00

Why is it that people fawn Shakespeare and have unreasonably high regard for his works, including The Tempest, and label them as "immortal classics"? Indeed Shakespeare's works had great significance in the evolution of English literature, but these works, including The Tempest are mostly devoid of significance and literary value in the present day. One can expect to gain little educational benefit of the english language or hightened apreciation for fine literature from the reading of Shakespeare's titles for reasons enumerate. First of all, the colorful and sophisticated metephoric vernacular style of the language utilized is archaic; even the speech of intellectually refined individuals and other respected literary works do not imploy of this rich style of speech. The poemic composition of The Tempest does not increase one's ability to apreciate distinguished literature because the refined and respected works of most other classical writers are in novel form and thus differ highly from Shakesperian works in the literary devices and mannerisms from which they are comprised. The Tempest was written in early seventeeth century England. At this period of history and country the English language was quite different from what it is today in many ways. First, standard, formal vocabulary was different at this time. An great expample is found in the line "...you bawling, blasphemous, incharitable dog!" (act 1 sc. 1, p. 9). In this line, the word incharitable is the modern equivalent of the word uncharitable. The standard dictionary word has changed prefixes somewhere througout the centuries. Another thing that would have made a further gap between the vernacular in the play and modern English is Shakespeare's deployment of common language, or slang (although I have no proof because I don't speak sixteenth century slang). "A pox o' your throught..." (act 1 sc.1, p. 9) and "...give o'er..." (act 1 sc. 1, p. 9). These phrases seem to be slang therms because they are so deviant from there modern english equvalents, "curses on" and "give up", respectiveley. What value does learning the archaic vernacular give to the reader. Surely it does not increase thier word power or sophisticate thier vocabulary, for nowhere, not even in among people of high intellecutal refinement such as venerable college professers, is this dead language used. Another distinctive trait of the vernacular used in The Tempest is the heavy use of metaphor. This use of metaphor is so heavy and outlandish that it

The Merchant of Venice

1999-01-22T13:00:00-05:00

In The Merchant of Venice, by William Shakespeare, there appears Shylock. He is a Jew, that much we are told in the cast list. But, as the play unfolds Shylock is seen to be the villian. He is protrayed as being cold, unbending, and evil. But is he? Is Shylock really the antagonist in this play or can he also be viewed as persecuted individual who resorts to revenge only after he has been pushed too far. To fully understand the character of Shylock we must first look at Elizabeathen attitudes towards Jews. In the sixteenth century Jews were rarely if ever seen in England. In the Middle Ages Jews had fled to England to escape persecution in France under the Normans. They were granted charter in England by Henry I in return for a percentage of their profits from trade and moneylending. It is here that the stereotype of Jews lending money was started. Because of the tariffs placed on them by the crown Jews took to charging high interest rates to secure profits for themselves. Here we see echos of Shylock with his usury. Finally the Jews were ordered out of England in 1254 by Edward I. They did not return to England until the later half of the seventeenth century. (Lippman 3-4) Jews were also viewed as devils by Elizabeathan audiences. Old stories portrayed them as "blood-thirsty murders" that poisoned wells and killed Christian children for their bizarre Passover ritu! als. (Stirling 2:1) These were the stereotypes which Shakespeare's audience held in regard to Jews. Shakespeare himself had never seen a Jew but he goes to great lengths to humanize Shylock even while perpetuating the stereotype. In Act 1:3, before Shylock ever says a word to Antonio, he lets the audience know in an aside that he hates Antonio. He hates him for having hindered him in business and for having humiliated him in public by spitting on him and calling him names such as "dog" and "cutthroat Jew". Shylock tells the audience he hopes to exact revenge on Antonio both for his own humiliation and for the persecution that the Jews have long suffered at the hands of the Christians. I hate him for he is a Christian;. . . If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him.He hates our sacred nation . . . Curséd be

The Merchant of Venice

1999-01-22T13:00:00-05:00

Many people are villainous in the way they act, and their villainous acts may be rooted in the desire to destroy others, or in the hopes of elevating themselves. Many people may only act "villainous" in reaction to the way they have been treated in the past. Shylock the Jew is the villain or antagonist in the play "The Merchant of Venice". Shylock mistreats Antonio the Christian, his daughter, Jessica and Launcelot. The first person Shylock mistreats, is Launcelot. He mistreats this servant by complaining behind Launcelot's back of his laziness. Shylock says, "The patch is kind enough, but a huge feeder, Snail-slow in profit, and he sleeps by day More than the wildcat. Drones hive not with me.. ..His borrowed purse." 1 Shylock also acts villainous towards Launcelot by acting belligerent towards him. "Who bids thee call? I do not bid thee call." 2 Shylock mistreats this man because of his poverty, and because Launcelot is socially beneath him. You also start to wonder about how fair Shylock is, when Launcelot is deciding whether or not to leave him. Shylock also mistreats his own daughter, Jessica. He mistreats her by keeping her as a captive in her own house, not letting her out, and not letting her hear the Christian music around her. He orders her to: "Lock up my doors; and when you hear the drum... ..But stop my house's ears-I mean casements. Let not the sound of shallow fopp'ry enter My sober house." 3 Jessica considers her home to be hell, and she calls Launcelot, a "merry little devil". She even states that her father is Satan. Shylock also mistreats his own daughter, by not loving her enough, even to the point where he complains about all of the money he's spending in a search to find her. "Why, there, there, there, there! A diamond gone cost me two thousand ducats in Frankford! The curse....ill luck stirring but what lights o' my shoulders; no sighs but o' my breathing; no tears but o' my shedding."4 Salerio makes the audience wonder about Shylock, when he raves about when Shylock was calling out, "Oh my ducats, my daughter, my ducats, my daughter.." This makes you wonder which he misses the most. This proves that he mistreats, even his own daughter. He values his money more than his own blood. Shylock mistreats Antonio. He does so by talking behind Antonio's

Tamed Shrews and Twelfth Nights: The Role of Women In Shakespeare

1999-01-22T13:00:00-05:00

It is curious to note the role of women in Shakespearean literature. Many critics have lambasted the female characters in his plays as two-dimensional and unrealistic portrayals of subservient women. Others have asserted that the roles of women in his plays were prominent for the time and culture that he lived in. That such contrasting views could be held in regards to the same topic is academic. It is only with close examination of his works that we are able to suppose his intent in creating characters that inspire so much controversy. Two works, Taming of the Shrew, and Twelfth Night, stand out particularly well in regards to Shakespeare's use of female characters. After examining these two plays, one will see that Shakespeare, though conforming to contemporary attitudes of women, circumvented them by creating resolute female characters with a strong sense of self. The Taming of the Shrew is one of Shakespeare's most famous plays, and has weathered well into our modern era with adaptations into popular television series such as Moonlighting. For all the praises it has garnered throughout the centuries, it is curious to note that many have considered it to be one of his most controversial in his treatment of women. The "taming" of Katherine has been contended as being excessively cruel by many writers and critics of the modern era. George Bernard Shaw himself pressed for its banning during the 19th century (Peralta). The subservience of Katherine has been labeled as barbaric, antiquated, and generally demeaning. The play centers on her and her lack of suitors. It establishes in the first act her shrewish demeanor and its repercussions on her family. It is only with the introduction of the witty Petruchio as her suitor, that one begins to see an evolution in her character. Through an elaborate charade of humiliating behavior, Petruchio humbles her and by the end of the play, she will instruct other women on the nature of being a good and dutiful wife. In direct contrast to Shrew, is Twelfth Night, whose main female protagonist is by far the strongest character in the play. The main character Viola, has been stranded in a foreign land and adopts the identity of her brother so that she might live independently without a husband or guardian. She serves as a courtier to a young, lovesick nobleman named Orsino. Throughout the play she plays as a go-between