...Macbeth, a tragedy written by William Shakespeare in the 17th century, expresses clearly the strong pull that desire for power can have over a man. Macbeth, the title character of the play, is often expressed as being the villain of the tragedy. However, through studying the play closely it is clear to see that, rather than being an innately evil character, Macbeth is in fact a tragic hero, doomed by fate from the start to descend into the madness which he did. Had it not been for his hamartia and his interaction with the witches and his wife then the play would have had a very different ending. Like every tragic hero in literature Macbeth suffered from a tragic flaw, or a hamartia. In his case, his flaw was his vaulting ambition, combined with a lust for power. Macbeth himself recognises this ambition in act I, scene 7 where he states in a soliloquy “I have no spur to ***** the sides of my intent but only vaulting ambition”. This comment suggests that he knows that the only thing that prompts his actions is his ambition. While ambition alone is not in fact a bad trait, when added with a lust for power, this ambition can become dangerous. Did having these qualities mean that Macbeth was indisputably corrupt? No, they simply meant that he, like all human beings, had a flaw and a weakness. Indeed, at the start of the play, Macbeth was seen as the hero, being described as “brave Macbeth” in act I, scene II, and shown as a loyal and brave solider on the battle field. He is also...
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...Macbeth: The Tragic Hero By: Daniel Chekole 2012 Macbeth: The Tragic Hero By: Daniel. C "Any art worthy of its name should address 'life', 'man', 'nature', 'death' and 'tragedy'.” (Barnett Newman, BrainQuote) In a tragedy the main character rises to greatness showing characteristics above normality while repeatedly showing proof to the audience about his or her tragic flaw which later on leads to the character’s downfall. Macbeth created tragedy in the lives of his loved ones and peers as well as a monumental tragic fate onto himself during his reversion from being a decent and moral man to someone similar to a devil who had paranoia and couldn’t differentiate between good and evil. Furthermore, Macbeth became detached from the feelings and thoughts of the people around him as he became so engaged in himself as well as the three witches and their prophecies. When Shakespeare wrote this play he slowed down the process of the tragedy so that the audience would acknowledge and experience Macbeth’s success and happiness; slowing signs appeared with foreshadowing techniques leading to the climax of the play as Macbeth headed to his tragic flaw. In the process of the tragedy Macbeth starts as a brave respected warrior, then later is fooled by the witches with prophecies, and sadly becomes lifeless. In the beginning of the play as we first hear of Macbeth from a wounded captain who...
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...In Shakespeare's Macbeth, the frequent chronicle of the use of blood happens to be the most significant motif and prevails against any other motif in regards to having a unique ability to reveal truth about a character in every realm. In this tragedy, blood is used to show change in the character Macbeth from a great war hero, an outstanding leader, and a man worthy of respect and honor, to him becoming nothing more than a tyrannical, evil, hollow shell of a human being. This morbid transformation occurs swiftly from beginning to end, and shines a holy, vivid light on the dark and stormy heart of Macbeth each step of the way. Initially, blood is used to represent Macbeth’s deceit and literal back stabbing of the guards of King Duncan, as well...
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...must be of noble/high stature 2 - Hubris (tragic flaw) - pride blinds them 3 - Downfall 4 - Enlightenment (near the end of the play) 5 - Their death Someone of high position; in this time period, that meant royalty. He is 'universal,' meaning that everyone everywhere can relate to the kinds of problems or sufferings or emotions that the hero experiences. He has a 'tragic flaw' - this could be a personality trait (like greed, lust, ambition, jealousy, etc.), OR an error in judgement (a bad decision). This 'tragic flaw' leads to his downfall - usually ruins his career, reputation, power, etc. He is enlightened at the end of the story, meaning he realizes where he went wrong, he is humble, and he accepts the consequences . A tragic hero is a character in a work of fiction (often the protagonist) who commits an action or makes a mistake which eventually leads to his or her defeat. The idea of the tragic hero was created in ancient Greek tragedy and defined by Aristotle (and others). Usually, this includes the realization of the error (anagnorisis), which results in catharsis or epiphany. Aristotelian tragic hero Characteristics Aristotle once said that "A man doesn't become a hero until he can see the root of his own downfall." An Aristotelian tragic hero must have four characteristics: Nobility (of a noble birth) or wisdom (by virtue of birth). Hamartia (translated as flaw, mistake, or error, not an Elizabethan tragic flaw). A reversal of fortune(peripetia) brought...
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...directly or indirectly. One famous and rather memorable example of a mental disease takes place in a Shakespearean play, Macbeth; which is the story of a loyal soldier who falls into the depths of darkness and despair as he seeks the crown while disregarding any ramification (Bevington). Early in the play, Macbeth’s mental state is a commonplace. He seems to be content with himself. But, as the story progresses so does his mental health. He turns into an unrecognizable man whose guilt causes him to go insane. Belatedly, the witches, his wife, his hallucinations, and his tragic flaw cause Macbeth’s descent into madness. The opening of the play introduces supernatural...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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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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...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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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and 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...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 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...
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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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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...\nvt'$ mvmj of thf "i'emW^ le$t ^mH, THE DISCOURSES OF EPICTETUS. WITH THE ENCHEIRIDION AND FRAGMENTS. TRANSLATED, AND A WITH VIEW NOTES, OF HIS A LIFE OF EPICTETUS, PUILO80PUY. By GEOKGE long, M.A. NEW YORK: A. L. BURT, PUBLISHER, EPICTETUS. Very that he little was a is known* native of and of the life of in Epictetus. Phrygia, the in Maeander the a it is saia Hierapolis, a town tween be- the the to Mgeander branch of named of Paul it in the of Lyons. the Hierapolis of Colossi that time is mentioned epistle from people (Coloss. there of the was iv. a 13); which church date of fact his master has been concluded at Christian The Hierapolis birth of the apostie. The Epictetus life is that is unknown. he a was a only Rome, recorded and of broke the his was early slave in Epaphroditus, There is a profligate that the freedman master to on emperor his slave's dence evi- Nero, story leg by torturing of or him; but the that it is better trust to the Simplicins, who an commentator the weak how Encheiridion in he Manual, from but says Epictetus It is not in was body became that found and a lame early age. said modern slave; parents it has the this ...
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...1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI Chapter XVIII CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI The Art of Public Speaking BY 2 The Art of Public Speaking BY J. BERG ESENWEIN AUTHOR OF "HOW TO ATTRACT AND HOLD AN AUDIENCE," "WRITING THE SHORT-STORY," "WRITING THE PHOTOPLAY," ETC., ETC., AND DALE CARNAGEY PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE NEW YORK CITY CHAPTER, AMERICAN INSTITUTE OF BANKING THE WRITER'S LIBRARY EDITED BY J. BERG ESENWEIN THE HOME CORRESPONDENCE SCHOOL SPRINGFIELD, MASS. PUBLISHERS Copyright 1915 THE HOME CORRESPONDENCE SCHOOL ALL RIGHTS RESERVED TO F. ARTHUR METCALF FELLOW-WORKER AND FRIEND Table of Contents THINGS TO THINK OF FIRST--A FOREWORD * CHAPTER I--ACQUIRING CONFIDENCE BEFORE AN AUDIENCE * CHAPTER II--THE SIN OF MONOTONY DALE CARNAGEY * CHAPTER III--EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION * CHAPTER IV--EFFICIENCY THROUGH CHANGE OF PITCH * CHAPTER V--EFFICIENCY THROUGH CHANGE OF PACE * CHAPTER VI--PAUSE AND POWER * CHAPTER VII--EFFICIENCY THROUGH INFLECTION * CHAPTER VIII--CONCENTRATION IN DELIVERY...
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