...The Effect of Allusions in Hamlet Sometimes it takes a clearly conveyed comparison to fully understand a difficult concept. The greatest authors of all time create novels with important points that are not quite so obvious, and the reader has to do a little digging to grasp the intended meaning. When regarding Shakespearean plays, readers will surely notice that they are riddled with enigmas. How does Shakespeare give the reader clues to help grasp the novel? He uses allusions, carefully-placed references to something else. One of the finest places to look for Shakespearean allusions is Hamlet, a tragedy about the negative effect of ambition and revenge. The result of William Shakespeare incorporating allusions into Hamlet is the readers have a more sophisticated understanding of themes, characters, and conflicts. In Shakespeare’s Hamlet, he uses allusions in order to develop themes in the play. One of the major themes in the play is action vs. inaction. In Act 1, Scene 5, Hamlet talks with the ghost of his father about the cause of his death. The ghost informs him that it was his uncle Claudius, as he suspected, and that it is imperative that he seek revenge at once. The ghost says, “I find thee apt. And duller shouldst thou be than the fat weed that roots itself in ease on Lethe Wharf, wouldst thou not stir in this.” The ghost sees that Hamlet is eager to get revenge, but little does he know, this allusion is a prediction of what is to come. The ghost’s statement...
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...Comparative analysis: Hamlet and The Lion King Hamlet is a 1990 drama film based on a tragic play with the same name, written by William Shakespeare. On the other side The Lion King is an animated musical movie. Walt Disney Pictures released the movie in 1994. As the movie Hamlet, The Lion King was also influenced by Shakespeare’s play, Hamlet. Both the movies are about revenging the death of a cherished family member but in different ways. Since a long time the idea of revenge has existed in our human nature. It has been our instinct to take back for a person that has been hurt. Today we find that many literary works uses revenge as a theme for the plot but how it is shown depends from a character to another. Hamlet and The Lion King are two superb examples. In the castle of Elsinore in Denmark, prince Hamlet sees his father’s ghost. Through the ghost Hamlet learns that his own brother, Claudius, who wants the thrown to Denmark had murdered his father and married his dead brothers wife, the queen Gertrude. The spirit tells Hamlet to, “revenge his foul and most unnatural murder” (1.5.25 Shakespeare) and Hamlet obeys the spirit’s wishes. He then begins to seek more evidence on Claudius and his betrayal towards his brother. Hamlet enters into a deep melancholy and appears to be in madness, which makes Claudius and Gertrude worry about his erratic behavior. They employ Hamlet’s friends, Rosencrantz and Guildenstern to watch over him and to discover the cause of his...
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...The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption. Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language, with a story capable of "seemingly endless retelling and adaptation by others." The play was one of Shakespeare's most popular works during his lifetime It has inspired writers from Goethe and Dickens to Joyce and Murdoch, and has been described as "the world's most filmed story after Cinderella". Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar François de Belleforest. He may also have drawn on or perhaps written an earlier Elizabethan play known today as the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time. In the 400 years since, the role has been performed by highly acclaimed actors and actresses from each successive age. Three...
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...Outline Hamlet Essay Politics, hatred, envy, incest, love, and most importantly revenge. These are all themes that boldly occur in Shakespeare's Hamlet. Literature is made to be understood and related to by the audience and throughout Hamlet; Shakespeare presents his audience with many soliloquies. As a matter of fact, the most famous of words in English literature "To be or not to be" (III, i, 58) is in a soliloquy said by Hamlet. Like all speeches in Shakespearean pieces, Hamlet's soliloquy captures the audience's eyes, ears, and hearts with relation to the economic, social, and political aspects of life. Through the common social tendencies of humans and Body Paragraph 1 Death is all around, whether caused through nature or by another man it will always haunt the world. Many people tremble upon the subject of death and it even haunts many to think of dying, this is why and how Shakespeare found a way to captivate his audience. This is evident when Hamlet says "while, to my shame, I see the imminent death of twenty thousand men, that for a fantasy and trick of fame, Go to their graves like beds, fight for a plot whereon the numbers cannot try the cause, which is not tomb enough and continent to hide the slain?" (IV, iv, 59-65). Here Hamlet expresses the great number of people that are being slaughtered in comparison to the one man who he is destined to kill to avenge his father. The audience analyzes this and now understands what it means to take a life. Shakespeare shows...
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...a seduction. This section focuses on two opposing scenes, one of high society and one of the lower classes. The first half of the section portrays a wealthy, highly groomed woman surrounded by exquisite furnishings. As she waits for a lover, her neurotic thoughts become frantic, meaningless cries. Her day culminates with plans for an excursion and a game of chess. The second part of this section shifts to a London barroom, where two women discuss a third woman. Between the bartender’s repeated calls of “HURRY UP PLEASE IT’S TIME” (the bar is closing for the night) one of the women recounts a conversation with their friend Lil, whose husband has just been discharged from the army. She has chided Lil over her failure to get herself some false teeth, telling her that her husband will seek out the company of other women if she doesn’t improve her appearance. Lil claims that the cause of her ravaged looks is the medication she took to induce an abortion; having nearly died giving birth to her fifth child, she had refused to have another, but her husband “won’t leave [her] alone.” The women leave the bar to a chorus of “good night(s)” reminiscent of Ophelia’s farewell speech in Hamlet. The first part of the section is largely in unrhymed iambic pentameter lines, or blank verse. As the section proceeds, the lines become increasingly irregular in length and meter, giving the feeling of disintegration, of things falling apart. As the woman of the first half begins to give voice to her...
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...Holinshed's with a history like Fronde's or Grardiner's. You find in the former no exposition of principles, no attempt to sift tradition from fact, no sense whatever of the dignity of a thousand page folio in black letter. On the other hand, we read in Holinshed of a terrible storm that killed a dog in Essex, or of a cow that gave birth to a five-legged calf in Kent. Street parades, tiltings, trivial and momentous events alternately, mere gossip, above all, inspired utterances in the form of public proclamations from the crown — this is the sum and substance of Holinshed and Stow — and the people were well satisfied. The matter-of-fact critic of today is too apt to condemn the Elizabethan dramatists for the credulity evinced by their characters. But such criticism is often misplaced. The Elizabethans were credulous people. The opening chapter of Kingsley's Westward Ho! relates a number of foolish inducements held out by Salvation Yeo and John Oxenham, two prospective sailors of the South Seas. But the inducements were not considered foolish then. Kingsley, in his charming way, points a little pleasantly at the inconsistency of English inscriptions upon the wondrous horn of ivory that had been picked up in the land of the Incas. Even here, the amusing sarcasm is slightly misplaced. The Elizabethans would not allow themselves to be troubled by such trifles. The golden city of Monoa was as real to them as Paradise or Hell. The chapter, in fact, is almost a literal transcript of...
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... Spelling not yet standardized, thus name spelled in different ways • Shakespeare, Shakspere, Shackspere, Shaxper, Shagspere, Shaxberd, etc. Shakespeare: The most well known playwright of Elizabethan times is Shakespeare. But there were also other writers who in their time were just as, or even more famous than him. WHAT MAKES SHAKESPEARE STAND OUT? – The volume of his works Plays firmly attributed to Shakespeare ■ 14 COMEDIES – funny play – with amusing events – ended in marriage / or happily o Midsummer Night’s Dream, Merchant of Venice, Twelfth Night, As You Like It, Much Ado about Nothing… ■ 10 HISTORIES – Richard III, Richard II, Henry IV… ■ 10 TRAGEDIES – ends in death ← Hamlet, Macbeth, Romeo and Juliet, Othello, Julius Caesar… ■ 4 Romances – ( chivalry and love) Pericles,...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts while staying in the third person. Gustave Flaubert pioneered this style in Madame Bovary, as in this passage: “Sometimes she thought that these were after all the best days of her life, the honeymoon, so-called.” Objective narration: A style in which the narrator reports neutrally on the outward behavior of the characters but offers no interpretation of their actions or their inner states....
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...Elements of Drama by: Christina Sheryl L. Sianghio Character Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character. Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate. The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain? Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the...
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...JAMES JOYCE -AN IRISH MODERNIST MODERN FICTION GROUP NUMBER 4 GROUP MEMBERS : HAFSA SHAHID R CONTENTS: Introduction to James Joyce Modernism and James Joyce A portrait of an Artist as aYoung Man Ulysses Themes and Style of Joyce's two Works a) Mythological Allusions b) Kunslerroman c)Stream of conciousness c)Focus on inner time rather than outer time d)Search for identity e)Treatment of religion f)Treatment of sexuality Conclusion James Joyce (from February 2, 1882 to January 13, 1941) was one of the most preeminent Irish authors of the 20th century. He is known for his literary innovation strictly focused narrative and indirect style. James Joyce matriculated from University College of Dublin in 1903. After moving to Paris, Joyce planned on studying medicine. The lectures were conducted in a technical French but Joyce’s education had not prepared him for it. Despite his mother’s attempts to get him to return to Catholic Church, Joyce remained unmoved even after her death. Joyce studied at Clongowes Wood College from 1888 until 1892. When the family’s financial state devolved, Joyce had to leave the school. After a brief time at Christian Brothers School, Joyce was enrolled at Belvedere College in 1893. In 1898, Joyce began studying Italian, English and French at University College Dublin. At this time, Joyce also began his entry into the artistic...
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...techniques, such as the stream of consciousness writing in Ulysses, have come to epitomize modernist fiction. Ulysses not only challenges the censors’ attitude to sex, but also what were considered the sexual norms for men and women in pre-war Catholic society. Similarly, Vladimir Nabokov uses sexual deviancy to protest the theoretical ideas implicit in modernist literature through characteristics derived from post-World War II civilisation. The absence of structure or control left by the war undermined contemporary opinion of western stability, presented in Lolita through American culture. This subversion is mirrored in the poetry of Carol Ann Duffy through use of explicit language rather than sexual perversion, confronting the inequality in modern culture. Despite the distinct narrative styles of each writer, be it the stream of consciousness monologues of...
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...was harmful to their development. Shakespeare being taught to non-white students is a problem because they are being told that their culture isn’t enough. Is this a message we want to send after the last 40 years of minority groups demanding, and receiving, inclusion into society? Aren’t there any other works that could be substituted for the works of Shakespeare’s? Plenty of good candidates are published every year but they aren’t taken seriously. Why not? One reason is of course the name brand recognition of Shakespeare. He has had 500 years to gain a position in the public eye. Another reason is the many contributions that he has made to the English language. Many of the tried and true turn of phrases used today come from his characters. An additional issue is that Shakespeare and the Bible have been associated so much that his works have taken on a sacred connotation. Just as you don’t change, or substitute, sections of the Bible, adapting Shakespeare’s works isn’t easily done. The attitude that Shakespeare is too precious to be changed, however, ignores the tradition of adapting his works for the stage. Nahum...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...Rhetorical Terms/Devices Figurative language is the generic term for any artful deviation from the ordinary mode of speaking or writing. It is what makes up a writer’s style – how he or she uses language. The general thinking is that we are more likely to be persuaded by rhetoric that is interesting, even artful, rather than mundane. When John F. Kennedy said, “Ask not what your country can do for you, ask what you can do for your country” (an example of anastrophe), it was more interesting – and more persuasive – than the simpler, “Don’t be selfish.” Indeed, politicians and pundits use these devices to achieve their desired effect on the reader or listener nearly every time they speak. The stylistic elements in a piece of writing work to produce a desired effect related to the text’s (and author’s) purpose, and thus reveals the rhetorical situation. In classical rhetoric, figures of speech are divided into two main groups: Schemes — Deviation from the ordinary pattern or arrangement of words (transference of order). Tropes — Deviation from the ordinary and principal meaning of a word (transference of meaning). *Important Note: Words marked with an asterisk* are words for which it would be impossible for you to write 3 examples for your weekly vocabulary assignment. In those cases, please write only the definition, in your own words, and the rhetorical uses/effect of that device, or do what you are instructed to do under those words. Please mark these words that deviate...
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