...In the play of “Romeo and Juliet”, William Shakespeare shows that fate is like an inescapable quicksand, the harder one tries to defy fate, the faster it occurs. From the very beginning of the play, the audience is aware of the tragic ending of Romeo and Juliet. The prologue states, “A pair of star-crossed lovers take their life... The fearful passage of their death-marked love.”(Prologue.6-9) This tells the audience that Romeo and Juliet’s love is against the stars or fate, and thus their love is doomed for death. Throughout the play, the audience witnesses Romeo and Juliet's attempt to escape this fate, but it only brings them closer towards it. In addition, following Romeo and Juliet’s marriage, kills Tybalt in revenge for Mercutio’s death....
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...GCSE COURSEWORK- ROMEO & JULIET For my Romeo and Juliet coursework I will try to answer the question: Shakespeare uses many dramatic devices to ensure that Romeo and Juliet is a play full of violence, conflict and tension. With the focus on Act 3 Scene 1, how are these techniques developed by Shakespeare through language, setting and plot? The very hopeful tone of Act II where Romeo and Juliet got married changes dramatically at the beginning of Act III as Romeo becomes entangled in the brutal conflict between the two families. The searing heat “day is hot”, flaring tempers “mad blood stirring” and sudden violence of this scene is a abrupt contrast with the romantic, peaceful previous night. The play reaches a dramatic climax as Romeo and Juliet’s private world clashes with the public feud with tragic consequences- death of Mercutio and Tybalt. Mercutio’s death becomes the catalyst for the tragic turn the play takes from this point onwards. The choice of the setting plays a big part in the development of this tragic turn. Shakespeare shifts the setting from the privacy of Friar Lawrence’s cell where Romeo and Juliet got married to a public place where friends, honour and family ties hold sway. This setting shows that innocent people are getting hurt because of all this feuding; “civil blood makes civil hands unclean”. On top of that it suggests that the families’ feud has reached its ultimatum-it has gone from private to public. We also get the feeling that they are...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S ROMEO AND JULIET By ARTHEA J.S. REED, PH.D. S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Romeo and Juliet 2 INTRODUCTION William Shakespeare’s Romeo and Juliet is an excellent introduction to Shakespearean drama; teenagers can relate to its plot, characters, and themes. The play’s action is easily understood, the character’s motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically...
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...ROMEO & JULIET Prologue (ACT 1) As a prologue to the play, the Chorus enters. In a fourteen-line sonnet, the Chorus describes two noble households (called “houses”) in the city of Verona. The houses hold an “ancient grudge” (Prologue.2) against each other that remains a source of violent and bloody conflict. The Chorus states that from these two houses, two “star-crossed” (Prologue.6) lovers will appear. These lovers will mend the quarrel between their families by dying. The story of these two lovers, and of the terrible strife between their families, will be the topic of this play. ANALYSIS This opening speech by the Chorus serves as an introduction to Romeo and Juliet. We are provided with information about where the play takes place, and given some background information about its principal characters. The obvious function of the Prologue as introduction to the Verona of Romeo and Juliet can obscure its deeper, more important function. The Prologue does not merely set the scene of Romeo and Juliet, it tells the audience exactly what is going to happen in the play. The Prologue refers to an ill-fated couple with its use of the word “star-crossed,” which means, literally, against the stars. Stars were thought to control people’s destinies. But the Prologue itself creates this sense of fate by providing the audience with the knowledge that Romeo and Juliet will die even before the play has begun. The audience therefore watches the play with the expectation that it must...
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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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...“Although terrifying, many of the stories are also darkly comic.” Consider at least two of the stories from The Bloody Chamber in the light of this comment. * candidates must consider at least two stories here – they may consider more * exploration of the ways in which the stories may be considered terrifying, an aspect of the gothic – likely reference to the numerous instances of horrific violence, sexual depravity, supernatural powers, psychological fear etc * exploration of the ways in which some of the stories may be considered comic – “Puss-in-Boots” is obviously comic – other stories have moments of sardonic humour, often created by surprise or defiance of our expectations * Response to the word “darkly” in the question and its implications of black comedy – laughing at things which are not normally considered funny – expect some personal response here – sense of humour is very individual! * some candidates may discuss Carter’s language – her intermingling of the poetic and literary with the bluntly crude may be seen as a source of dark humour, equally her choice of structure may make her writing darkly comic – her use of juxtaposition – some readers have seen the absurd brevity of “The Snow Child” as comic and it is unquestionably “dark” Carter’s ‘The Bloody Chamber’ certainly embeds an element of terror within the collection. However, despite claims of horror apparent in the Marquis from the very start, it is also reasonable to argue that...
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...Larkin has been regarded as one of the most pessimistic poets. Larkin surely takes a very dark view of human life. The main emphasis in his poems is on failure and frustration in human life. And then there is his preoccupation with death. In a number of poems he emphasizes the sombre and grim aspects of human life and in many poems he speaks of the cert of death. We are all aware of the facts of failure and frustration in human life and we are all aware of the faith of death. But what makes Larkin a pessimist, and a confirmed pessimist at that, is his repeated emphasis, and over-emphasis, on these aspects of human life. On explanation of his repeated reminders to us of the certain of death, he has been regarded as “a graveyard poet”; and the general and brooding atmosphere of melancholy and despondency in his poems justifies the label “pessimist” for him. A number of poems come to our minds in this connection. The poem Ambulances paints a gloomy picture of human life because of the fact that every street is visited by an ambulance at one time or the other. An ambulance is a symbol of disease and death. Dockery and Son contains the following pessimistic line: “Life is first boredom, then fear”. And this poem concludes with the pessimistic view that there is old age, and that the end of old age is death. Aubade is a poem in which Larkin’s fear of death reaches its climax. Larkin himself described it his “in-a-funk-about-death poem.” The Positive Features of His Pessimistic...
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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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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...animal Books by Elliot Aronson Theories of Cognitive Consistency (with R. Abelson et al.), 1968 Voices of Modern Psychology, 1969 The Social Animal, 1972, 1976, 1980, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Readings About the Social Animal, 1973, 1977, 1981, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Social Psychology (with R. Helmreich), 1973 Research Methods in Social Psychology (with J. M. Carlsmith & P. Ellsworth), 1976 The Jigsaw Classroom (with C. Stephan et al.), 1978 Burnout: From Tedium to Personal Growth (with A. Pines & D. Kafry), 1981 Energy Use: The Human Dimension (with P. C. Stern), 1984 The Handbook of Social Psychology (with G. Lindzey), 3rd ed., 1985 Career Burnout (with A. Pines), 1988 Methods of Research in Social Psychology (with P. Ellsworth, J. M. Carlsmith, & M. H. Gonzales), 1990 Age of Propaganda (with A. R. Pratkanis), 1992, 2000 Social Psychology, Vols. 1–3 (with A. R. Pratkanis), 1992 Social Psychology: The Heart and the Mind (with T. D. Wilson & R. M. Akert), 1994 Cooperation in the Classroom: The Jigsaw Method (with S. Patnoe), 1997 Nobody Left to Hate: Teaching Compassion After Columbine, 2000 Social Psychology: An Introduction (with T. D. Wilson & R. M. Akert), 2002, 2005, 2007 The Adventures of Ruthie and a Little Boy Named Grandpa (with R. Aronson), 2006 Mistakes Were Made (But Not By Me) (with C. Tavris), 2007 Books by Joshua Aronson Improving Academic Achievement, 2002 The Social Animal To...
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...Salman Rushdie Midnight's Children First published in 1981 Excerpts from the Koran come from the Penguin Classics edition, translated by N. J. Dawood, copyright (c) 1956, 1959,1966,1968,1974. for Zafar Rushdie who, contrary to all expectations, was born in the afternoon Contents Book One The perforated sheet Mercurochrome Hit-the-spittoon Under the carpet A public announcement Many-headed monsters Methwold Tick, tock Book Two The fisherman's pointing finger Snakes and ladders Accident in a washing-chest All-India radio Love in Bombay My tenth birthday At the Pioneer Cafe Alpha and Omega The Kolynos Kid Commander Sabarmati's baton Revelations Movements performed by pepperpots Drainage and the desert Jamila Singer How Saleem achieved purity Book Three The buddha In the Sundarbans Sam and the Tiger The shadow of the Mosque A wedding Midnight Abracadabra Book One The perforated sheet I was born in the city of Bombay ... once upon a time. No, that won't do, there's no getting away from the date: I was born in Doctor Narlikar's Nursing Home on August 15th, 1947. And the time? The time matters, too. Well then: at night. No, it's important to be more ... On the stroke of midnight, as a matter of fact. Clock-hands joined palms in respectful greeting as I came. Oh, spell it out, spell it out: at the precise instant of India's arrival at independence, I tumbled forth into the world. There were gasps. And, outside the...
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...SHOULD SET ALARM BELLS RINGING: The It’llGet-Worse-Before-It-Gets-Better Fallacy 13 EVEN TRUE STORIES ARE FAIRYTALES: Story Bias 14 WHY YOU SHOULD KEEP A DIARY: Hindsight Bias 15 WHY YOU SYSTEMATICALLY OVERESTIMATE YOUR KNOWLEDGE AND ABILITIES: Overconfidence Effect 16 DON’T TAKE NEWS ANCHORS SERIOUSLY: Chauffeur Knowledge 17 YOU CONTROL LESS THAN YOU THINK: Illusion of Control 18 NEVER PAY YOUR LAWYER BY THE HOUR: Incentive Super-Response Tendency 19 THE DUBIOUS EFFICACY OF DOCTORS, CONSULTANTS AND PSYCHOTHERAPISTS: Regression to Mean 20 NEVER JUDGE A DECISION BY ITS OUTCOME: Outcome Bias 21 LESS IS MORE: The Paradox of Choice 22 YOU LIKE ME, YOU REALLY REALLY LIKE ME: Liking Bias 23 DON’T CLING TO THINGS: Endowment Effect 24 THE INEVITABILITY OF UNLIKELY Events: Coincidence 25 THE CALAMITY OF CONFORMITY: Groupthink 26 WHY YOU’LL SOON BE PLAYING MEGATRILLIONS: Neglect of Probability 27 WHY THE LAST COOKIE IN THE JAR MAKES YOUR MOUTH WATER: Scarcity Error 28 WHEN YOU HEAR HOOFBEATS, DON’T EXPECT A ZEBRA: Base-Rate Neglect 29 WHY THE ‘BALANCING FORCE OF THE UNIVERSE’ IS BALONEY: Gambler’s Fallacy 30 WHY THE WHEEL OF FORTUNE MAKES OUR HEADS SPIN: The Anchor 31 HOW TO RELIEVE PEOPLE OF THEIR MILLIONS: Induction...
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...THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE This page intentionally left blank THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE SIXTH EDITION ± ± John Algeo ± ± ± ± ± Based on the original work of ± ± ± ± ± Thomas Pyles Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States The Origins and Development of the English Language: Sixth Edition John Algeo Publisher: Michael Rosenberg Development Editor: Joan Flaherty Assistant Editor: Megan Garvey Editorial Assistant: Rebekah Matthews Senior Media Editor: Cara Douglass-Graff Marketing Manager: Christina Shea Marketing Communications Manager: Beth Rodio Content Project Manager: Corinna Dibble Senior Art Director: Cate Rickard Barr Production Technology Analyst: Jamie MacLachlan Senior Print Buyer: Betsy Donaghey Rights Acquisitions Manager Text: Tim Sisler Production Service: Pre-Press PMG Rights Acquisitions Manager Image: Mandy Groszko Cover Designer: Susan Shapiro Cover Image: Kobal Collection Art Archive collection Dagli Orti Prayer with illuminated border, from c. 1480 Flemish manuscript Book of Hours of Philippe de Conrault, The Art Archive/ Bodleian Library Oxford © 2010, 2005 Wadsworth, Cengage Learning ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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