...fulfillment and endless enjoyment. Sometimes, however, peace and happiness does not last forever and comes hardships. These hardships are something that the characters in Hamlet have to deal with, and it is also something the audience can relate to. This way of life is very relevant in Shakespeare's play Hamlet, which covers the competency of love, hate and power struggles found within the characters which later leads to an unfortunate ending. Hamlet, the main character of William Shakespeare’s play Hamlet, is one of the most complex characters ever created. His intricacy can be seen in the amount of soliloquies he speaks throughout the play. Each one of Hamlet’s soliloquies reveals his innermost thoughts and gives the reader or audience insight as to what he is feeling at that time. The audience cannot help but to show some feeling towards the characters such as Hamlet, Fortinbras and King Claudius. All throughout the play, Shakespeare uses various characters to represent the social, economical, and cultural effects that are shown in Hamlet that may also correspond to the Elizabethan audience. Some characters that represent these effects include Hamlet, Fortinbras, Claudius, and Rosencrantz. It is through these characters’’ speeches and actions that really target the audience. The numerous soliloquy presented by Hamlet is one of the speeches in the play that captivates the audience. This is because the audience can relate to it, and they can anticipate what's to come and see the development...
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...Cause and Effect Essay – Elizabethan Target Audience “Always mystify, torture, mislead, and surprise the audience as much as possible (Roff).” Hamlet is a dramatic production written by William Shakespeare. “The play, set in the Kingdom of Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius for murdering the old King Hamlet, Claudius's own brother and Prince Hamlet's father, and then succeeding to the throne and marrying Gertrude, the King Hamlet's widow and mother of Prince Hamlet ("Hamlet”).” Shakespeare’s main objective was to impress his Elizabethan audience because entertainment through theater was extremely important to everyone in the era ("Elizabethan Theater"). Shakespeare successfully captivated an Elizabethan audience with this production (“Hamlet”). This essay will explain how an Elizabethan audience was targeted by Hamlet’s final monologue (act 4, lines 32-66). This speech effectively targeted and engaged an Elizabethan audience because its format, mentions of revenge and exciting nature caused the audience to sympathise with Hamlet’s decisions and feelings, and become enthusiastic and involved in the play. The format of this speech is a key factor which explains why the Elizabethan audience is effectively targeted. This speech is written and delivered in the form of a soliloquy. This means that it is an “uninterrupted speech delivered by a single character to the audience but not to other characters” (Jaber Al-Ogaili 48). Soliloquies are a...
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...Hamlet Final Essay What do you think makes Shakespeare’s Hamlet such a powerful and enduring play? Thesis William Shakespeare’s Hamlet (1603) explores the intrinsic aspects of humanity creating a powerful and enduring play by subverting the audiences’ expectation of a revenge tragedy play. Shakespeare enables universal anthropological appreciation through the emphasis on the thematic concerns of: the mystery and transcendental nature of death, clouded grey areas in between the dichotomy of good and evil morals, and the twisted manipulative nature of human behaviour. Therefore, through critical study of the play, Shakespeare augments and connects to the audience’s perspective and interpretations. Body Topic sentence 1. Overarching idea i. Point ii. Quote iii. Technique iv. Elaboration Sample Sentence Linking sentence (concluding sentence) Body 1 – Death Death is the inescapable reality of human life as explored in Shakespeare’s Hamlet, the fact that the living world is made of death and decay is visible anywhere there is life. 1. Hamlet’s bereavement over his father i. Bereavement is an inescapable reality in which all humans must endure. ii. “But I have more within which passes show – These but the trappings and the suits of woe” iii. Rhyming couplet iv. To reinforce Hamlet’s underlying argument to his grief over the finality of his father’s death. Bereavement is an inescapable reality, exemplified when Hamlet says...
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...Home > Why Hamlet Delays His Revenge Why Hamlet Delays His Revenge (Excerpt from Quintessence of Dust: The Mystical Meaning of Hamlet) Kenneth Chan ... Hamlet is finally alone, and the stage is set for the soliloquy that gave rise to one of the most persistent mysteries in literature: Why does Hamlet delay his revenge? Hamlet Ay, so, God buy you. Now I am alone. Oh, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his whole conceit1 That from her working all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for nothing! For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free,2 Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled3 rascal, peak Like John-a-dreams,4 unpregnant5 of my cause, And can say nothing--no, not for a king, Upon whose property and most dear life A damned defeat was made. Am I a coward? Who calls me a villain, breaks my pate across, Plucks off my beard and blows it in my face, Tweaks me by the nose, gives me the lie i'th'throat As deep as to the lungs? Who does me this? Ha, 'swounds, I should take...
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... William Shakespeare’s Hamlet has always intrigued scholars and critics by its contentious discourse, and it continues to do so. In Hamlet, Shakespeare dramatizes the crisis of moral corruption and the subsequent dysfunction of state by creating a world much like contemporary ones. Thus, providing critics and scholars with an akin basis to analyze the unfathomable nature of the play. As a result, The Tragedy of Hamlet is considered by many, the most mature and complex...
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...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...
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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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... and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed plot, elements of the occult, modern characterizations, and themes of import to today's world make Macbeth an excellent choice for teaching to high school students. This study guide offers ideas for presenting Macbeth to a high school class. The activities have been divided into sections: 1. 2. 3. 4. a brief literary overview, including a synopsis and commentary on the play; suggestions...
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...Newcastle upon Tyne NE1 8ST Self-Assessment ISBN: 1-86135-080-5 Text editor: Rebecca Johnson Copy editor: Publications Office, University of Northumbria Designed and produced by the Department of External Relations DER: 2308HCB/6/00J Contents Project mission statement Introduction The nature and scope of the project i) The self-assessment sheet ii) Student guide to self-assessment iii) ‘Writing essays: A guide for literary studies students’ (sample) 5 7 8 10 13 23 Ways of using the materials i) How the self-assessment sheet can be used ii) Workshop using the self-assessment sheet 34 34 34 iii) How ‘Writing essays: A guide for literary studies students’ can be used 35 iv) Workshop using the essay guide 35 Impact on staff and students i) Student response to the self-assessment sheet ii) Student response to workshops using the materials iii) Staff response to the materials 37 37 37 37 Further references About the authors Acknowledgements Appendices i) Example of completed self-assessment sheet with essay 39 39 39 41 3 4 Project mission statement T he Assessment and the Expanded Text Consortium is a project directed by the English division at the University of Northumbria. It involves collaborating with colleagues who teach English courses at Sheffield Hallam University, Staffordshire University and the University of East Anglia. We came together three years ago to build on existing relations between our various institutions...
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...the Point: Reading and Writing Short Arguments by Gilbert H. Muller and Harvey S. Wiener Copyright © 2005 by Pearson Education, Inc. Published by Pearson Longman, Inc. Copyright © 2006 by Pearson Custom Publishing All rights reserved. Permission in writing must be obtained from the publisher before any part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system. All trademarks, service marks, registered trademarks, and registered service marks are the property of their respective owners and are used herein for identification purposes only. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 0-536-97722-4 2005240359 AP Please visit our web site at www.pearsoncustom.com ISBN 0-558-55519-5 PEARSON CUSTOM PUBLISHING 75 Arlington Street, Suite 300, Boston, MA 02116 A Pearson Education Company Research and Writing, Custom Edition. Published by Pearson Custom Publishing. Copyright © 2006 by Pearson Custom Publishing. 1 Reading Arguments ontemporary American culture often seems dominated by argument. Television talk show hosts and radio shock jocks battle over countless issues. Hip-hop artists...
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...1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources...
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...SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures in English Free Resources LIST OF CONTENTS CAPE® Literatures in English Syllabus Extract 3 CAPE® Literatures in English Syllabus 4 CAPE® Literatures in English Specimen Papers: Unit 1 Paper 01 Unit 1 Paper 02 Unit...
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...Essays Essays Part II. 2, 2.] Part II. 2, 2.] Essays The Project Gutenberg EBook of Essays, by Ralph Waldo Emerson This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Essays Author: Ralph Waldo Emerson Editor: Edna H. L. Turpin Release Date: September 4, 2005 [EBook #16643] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ESSAYS *** 1 Essays Produced by Curtis A. Weyant , Sankar Viswanathan and the Online Distributed Proofreading Team at http://www.pgdp.net ESSAYS BY RALPH WALDO EMERSON Merrill's English Texts SELECTED AND EDITED, WITH INTRODUCTION AND NOTES, BY EDNA H.L. TURPIN, AUTHOR OF "STORIES FROM AMERICAN HISTORY," "CLASSIC FABLES," "FAMOUS PAINTERS," ETC. NEW YORK CHARLES E. MERRILL CO. 1907 CONTENTS INTRODUCTION LIFE OF EMERSON CRITICAL OPINIONS CHRONOLOGICAL LIST OF PRINCIPAL WORKS THE AMERICAN SCHOLAR COMPENSATION SELF RELIANCE FRIENDSHIP HEROISM MANNERS GIFTS NATURE SHAKESPEARE; OR, THE POET PRUDENCE CIRCLES NOTES PUBLISHERS' NOTE Merrill's English Texts 2 Essays 3 This series of books will include in complete editions those masterpieces of English Literature that are best adapted for the use of schools and colleges. The editors of the several volumes will...
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...The Tudors: A Very Short Introduction VERY SHORT INTRODUCTIONS are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in more than 25 languages worldwide. The series began in 1995, and now represents a wide variety of topics in history, philosophy, religion, science, and the humanities. Over the next few years it will grow to a library of around 200 volumes- a Very Short Introduction to everything from ancient Egypt and Indian philosophy to conceptual art and cosmology. Very Short Introductions available now: ANCIENT P H I L O S O P H Y Julia Annas THE ANGLO-SAXON AGE John Blair ANIMAL RIGHTS David DeGrazia ARCHAEOLOGY Paul Bahn ARCHITECTURE Andrew Ballantyne ARISTOTLE Jonathan Barnes ART HISTORY Dana Arnold ARTTHEORY Cynthia Freeland THE HISTORYOF ASTRONOMY Michael Hoskin ATHEISM Julian Baggini AUGUSTINE HenryChadwick BARTHES Jonathan Culler THE B I B L E John Riches BRITISH POLITICS Anthony Wright BUDDHA Michael Carrithers BUDDHISM DamienKeown CAPITALISM James Fulcher THE CELTS Barry Cunliffe CHOICETHEORY Michael Allingham CHRISTIAN ART Beth Williamson CLASSICS Mary Beard and John Henderson CLAUSEWITZ Michael Howard THE COLD WAR Robert McMahon CONTINENTAL PHILOSOPHY Simon Critchley COSMOLOGY Peter Coles CRYPTOGRAPHY Fred Piper and Sean Murphy DADAAND SURREALISM David Hopkins DARWIN Jonathan Howard DEMOCRACY Bernard Crick DESCARTES TomSorell DRUGS Leslie Iversen TH E EARTH Martin Redfern EGYPTIAN...
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...A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 First American paperback edition published in 2006 by Enchanted Lion Books, 45 Main Street, Suite 519, Brooklyn, NY 11201 Copyright © 2002 Philip Stokes/Arcturus Publishing Limted 26/27 Bickels Yard, 151-153 Bermondsey Street, London SE1 3HA Glossary © 2003 Enchanted Lion Books All Rights Reserved. The Library of Congress has cataloged an earlier hardcover edtion of this title for which a CIP record is on file. ISBN-13: 978-1-59270-046-2 ISBN-10: 1-59270-046-2 Printed in China Edited by Paul Whittle Cover and book design by Alex Ingr A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 Philip Stokes A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 ENCHANTED LION BOOKS New York Contents The Presocratics Thales of Miletus . . . . . . . . . . . 8 Pythagoras of Samos . . . . . 10 Xenophanes of Colophon 12 Heraclitus . . . . . . . . . . . . . . . . . . . 14 The Scholastics St Anselm . . . . . . . . . . . . . . . . . . 48 St Thomas Aquinas . . . . . . . 50 John Duns Scotus . . . . . . . . . 52 William of Occam . . . . . . . . . 54 The Liberals Adam Smith . . . . . . . . . . . . . . 106 Mary Wollstonecraft . . . . 108 Thomas Paine . . . . . . . . . . . . . 110 Jeremy Bentham . . . . . . . . . 112 John Stuart Mill . . . . . . . . . . 114 Auguste Comte . . . . . . . . . . . 116 The Eleatics Parmenides of Elea . . . . . . . 16 Zeno of Elea . . . . . . . . . . . . . . . 18 The Age of Science Nicolaus Copernicus . . . . . . 56 Niccolò Machiavelli...
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