...The soliloquy of Friar Laurence and how it predicts the story to follow The soliloquy of Friar Laurence plays a huge role in the story to come. He is Romeo's mentor and confidante. His soliloquy gives us better insight to his character and we get to know just what kind of person the Friar is. We learn that Friar meant well but nonetheless he created many disasters which could have been avoided. Romeo trusts the Friar because the Friar is Romeo’s mentor and confidant. He tells him almost everything including his love for Juliet. The Friar wants nothing more than then for rivalry between the Capulet and the Montague families to end so he agrees to marry Romeo and Juliet as he feels that the feud will end once the two families are united. Sadly however, he does it in such a secret manner that it caused more harm than good. He talks about the healing power of herbs but also how poisonous those same herbs could be. The soliloquy foreshadows and acts as an omen for the tragic events to come. The earth and all its creatures have a lot of good qualities and uses but if they are used inappropriately then the outcomes could be unwanted or even dangerous. That is why the same plant or herb that is used to heal could also kill if not used correctly. The Friar is also comparing the plants to humans saying that we can be both good and bad. When we read the following lines that the Friar Lawrence says, “The gray-eyed morn smiles on the frowning night,/Check’ring the eastern...
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...figurative language to create visual representations of actions, objects and ideas in our mind in such a way that they appeal to our physical senses. For example: * The room was dark and gloomy. -The words “dark” and “gloomy” are visual images. * The river was roaring in the mountains. – The word “roaring” appeals to our sense of hearing. 2. Simile and Metaphor: Both compare two distinct objects and draws similarity between them. The difference is that Simile uses “as” or “like” and Metaphor does not. For example: * “My love is like a red red rose” (Simile) * He is an old fox very cunning. (Metaphor) 3. Hyperbole: It is deliberate exaggeration of actions and ideas for the sake of emphasis. For example: * Your bag weighs a ton! * I have got a million issues to look after! 4. Personification: It gives a thing, an idea or an animal human qualities. For example: * The flowers are dancing beside the lake. * Have you see my new car? She is a real beauty! 5. Alliteration: It refers to the same consonant sounds in words coming together. For example: * Better butter always makes the batter better. * She sells seashells at seashore. 6. Allegory: It is a literary technique in which an abstract idea is given a form of characters, actions or events. For example: * “Animal Farm”, written by George Orwell, is an example allegory using the actions of animals on a farm to represent the overthrow of the last of the Russian Tsar Nicholas II and the Communist Revolution...
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...use alliteration in their tag lines to make the ads more memorable. Some examples of alliteration are: Don't delay dawns disarming display. Dusk demands daylight. - Paul Mccan Sara's seven sisters slept soundly in sand. ANASTROPHE Anastrophe the inversion of the normal order of speech in a particular sentence. It can also be said that the language is interrupted and speech takes a sudden turn. This is used for the purpose of emphasis. Examples of anastrophe are: Object there was none. Passion there was none. I loved the old man. - Edgar Allan Poe, The Tell-Tale Heart Why should their liberty than ours be more? - Adriana, Comedy of Errors, William Shakespeare ANAPHORA Anaphora refers to a repetition of one particular word purposely, at the start of consecutive sentences or paragraphs. This is again in order to emphasize a point. Examples of anaphora are: I'm not afraid to die. I'm not afraid to live. I'm not afraid to fail. I'm not afraid to succeed. I'm not afraid to fall in love. I'm not afraid to be alone. I'm just afraid I might have to stop talking about myself for five minutes. - Kinky Friedman, When the Cat's Away Water, water, every where, And all the boards did shrink ; Water, water, every where, Nor any drop to drink. - Samuel Taylor Coleridge, Rime of the Ancient Mariner ANTITHESIS Antithesis is defined as an opposition or contradiction between two concepts in a statement. For example: It rained all night the day I left, the weather it was dry, The sun so...
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...‘Romeo and Juliet/Catrin/Follower’ Controlled Assessment: Examining Shakespeare’s ideologies on parental influence and the impact on modern/Elizabethan audiences: Examine the way Shakespeare presents the relationship between Juliet and her parents. By Tiffanie Gould, 10x1 The iconic tragedy written by the world’s most honoured writer William Shakespeare, ‘Romeo and Juliet’ is a title the world is familiar with. Its impact on modern society is impeccable, whether related to love, tragedy or both moral and academic education, the modern media adopts its philosophy. Shakespeare is trying to educate, and the ever-pending battle is the matter of character vs. society; relationships differ even today between parent and child, and the way it may be interpreted is affected by women’s role in society in Elizabethan England and how the audience’s perspective of prejudice and patriarchy. Shakespeare explores emotions and allows adjustments in the relationship in an attempt to drop the audience’s jaws open in eras of both old and new. In this assessment, I will examine just how the way Shakespeare presents the relationship between Juliet and Lord/Lady Capulet with supported evidence. Lord Capulet: the very wealthy patriarch of the Capulet family and empire, probably just as important, the husband of Lady Capulet, the uncle of Tybalt, potential father-in-law of Count Paris, legitimate (but unknowingly) the father-in-law of Romeo Montague… and the father of Juliet Capulet-Montague....
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...‘Romeo and Juliet/Catrin/Follower’ Controlled Assessment: Examining Shakespeare’s ideologies on parental influence and the impact on modern/Elizabethan audiences: Examine the way Shakespeare presents the relationship between Juliet and her parents. By Tiffanie Gould, 10x1 The iconic tragedy written by the world’s most honoured writer William Shakespeare, ‘Romeo and Juliet’ is a title the world is familiar with. Its impact on modern society is impeccable, whether related to love, tragedy or both moral and academic education, the modern media adopts its philosophy. Shakespeare is trying to educate, and the ever-pending battle is the matter of character vs. society; relationships differ even today between parent and child, and the way it may be interpreted is affected by women’s role in society in Elizabethan England and how the audience’s perspective of prejudice and patriarchy. Shakespeare explores emotions and allows adjustments in the relationship in an attempt to drop the audience’s jaws open in eras of both old and new. In this assessment, I will examine just how the way Shakespeare presents the relationship between Juliet and Lord/Lady Capulet with supported evidence. Lord Capulet: the very wealthy patriarch of the Capulet family and empire, probably just as important, the husband of Lady Capulet, the uncle of Tybalt, potential father-in-law of Count Paris, legitimate (but unknowingly) the father-in-law of Romeo Montague… and the father of Juliet Capulet-Montague....
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...Translator’s Coming of Age by Omaya Ibrahim Khalifa Through studying the three translations of Shakespeare’s Romeo and Juliet done by Mohammed Enani in 1965, 1986 and 1993 respectively, this study adopts a diachronic approach. In addition to examining the historical dimension, this study attempts to address itself to crucial questions related to the process of translating a literary text. A few of these are: how a translator can approach a given text in three different ways and how each translation changes according to the approach and the methods chosen by the translator. More importantly, the study proposes to discuss the pragmatic conditions governing the act of translation and how far these result in prominent modifications in the relationship between the source and target texts. The first part of this study discusses the problem or problems which confront a translator attempting to transpose Shakespeare’s Romeo and Juliet into Arabic, and the second analyses the three translations and how each deals with the problems discussed. Mohammed Enani, in his introduction to his third translation of Romeo and Juliet, singles out tone as the main difficulty that faces any translator attempting a rendering of the play. In the Elizabethan era romance was regarded as a subject for comedy and as such allowed playful treatment. Harry Levin explains that Shakespeare’s Romeo and Juliet was an innovation at the time. He reveals the effect of the play on contemporary audiences as follows: ...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...of any of a variety of techniques to give an auxiliary meaning, idea, or feeling. Sometimes a word diverges from its normal meaning, or a phrase has a specialized meaning not based on the literal meaning of the words in it. Examples are metaphor, simile, or personification. Stylistic devices often provide emphasis, freshness of expression, or clarity. A simile is a figure of speech comparing two unlike things, often introduced with the word "like" or "as". It takes the form of: * X is (not) like Y * X is (not) as Y * X is (not) similar to Y Examples of simile: * He fights like a lion. * He swims as fast as a fish. * He slithers like a snake. * "My dad was a mechanic by trade when he was in the Army, When he got the tools out, he was like a surgeon." What is a metaphor? Unlike simile, metaphor (from the Greek language: meaning "transfer") is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things not using like or as. In the simplest case, this takes the form: X - is - Y Examples of metaphor: All the world's a stage, And all the men and women merely players; They have their exits and their entrances; (William Shakespeare, As You Like It, 2/7) Example: “Henry was a lion on the battlefield”. This sentence suggests that Henry fought so valiantly and bravely that he embodied all the personality traits we attribute to the ferocious animal. This sentence implies immediately that...
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...taken them into consideration when writing different plays all over the years. This essay seeks to explore the tension existing between the concepts of destiny and free will in the world of drama through the study of language as well as the analysis of character and situation development. In order to carry this research out, I will take Oedipus Rex by Sophocles (429 BC) and Dr Faustus by Christopher Marlowe (1604) as the basis for the analysis. Although the plays were written in different eras and consequently were inspired by very different social and historical backgrounds, the limits between destiny and free will play a very important role in both of them. But how does drama manage to explore this tension? How do playwrights convey the paradox that exists between destiny and free will? Over the course of...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...Name: Course: Lecturer: Date: Are Statutory Rape Laws Patronizing To Girls and Discriminatory To Boys Cover letter The purpose of the essay was to show that there is discrimination in the statutory laws where the boys are the ones who suffer. When there is sex between two teenagers below the age of 16, the girl I protected while the boy is charged. Charging the boy alone while they are both supposed to be protected by the same law is discriminatory. The essay seeks to show this using the case of a 14-year-old boy and three girls. From completing the topic, I learn more about statutory rape and the legal age of consent to sex. I learnt that statutory rape was initially meant for protecting girls from older male advances. However, with the advocacy of equal rights for both sexes, all children must be protected. During the research, I encountered several problems especially with finding relevant sources for information. Most scholarly articles addressed statutory laws without considering discrimination of boys. Therefore, finding the relation between statutory rape and discrimination of boys was challenging. Additionally it was hard to find materials relating to young boys since most statutory rape cases focused on older mature offenders with minors. I enjoyed learning about the statutory law and its consideration for boys in the current are. In addition, I enjoyed learning about the arguments posed by both sides, despite supporting the claim that it discriminated...
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...ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read,...
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...Research TOC BEHAVIORAL ECOLOGY, “SOCIOBIOLOGY,” AND HUMAN BEHAVIOR Bobbi S. Low W hen Juliet was twelve, her father, without consulting her, betrothed her to a man more than twice her age. She, being in love with Romeo, complained. Her father’s answer was (Act III, Scene V): An you will not wed, I’ll pardon you! Graze where you will, you shall not house with me; … An you be mine, I’ll give you to my friend; An you be not, hang, beg, starve, die in the streets, For, by my soul, I’ll ne’er acknowledge thee, Nor what is mine shall never do thee good. Today, in the United States, Juliet would probably sue her father for child abuse. And she would be likely to win. What is common, approved, and thought ethical varies widely across human cultures in time and space: whether one may marry more than one person at a time; who chooses marriage partners; whether abortion and infanticide are approved or forbidden; whether one may eat all meats, some meats, or none; what kinds of killings are forbidden or encouraged. How are we to make sense of all this variety? Human behavior has traditionally been the province of anthropology, sociology, and psychology. Within each of these fields there exist diverse approaches. Recently, behavioral ecology, an evolutionary approach to why we behave as we do, has joined other fields in trying to explain some of the diversity in human behavior. With its roots in Charles Darwin’s work 1 on natural selection, it examines how environmental conditions...
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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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...refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view 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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