...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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...madness whether it is feigned or not to be presented in literary works. William Shakespeare and Euripides depict this theme in their works Hamlet and Medea. Medea and Hamlet have experienced familial hardships; as a result they believe that the only way to obtain what they desire is through manipulation. Indeed both characters have become masters at the art of deceiving. In both works the theme of madness can be discussed as we cannot be certain that these personas are truly lunatics. Madness can be here considered as a tool to achieve ones end. Indeed Medea and Hamlet feign insanity in order to achieve revenge over their disloyal family. Medea and Hamlet have been betrayed by their family, the first through the murder of his father by his uncle and the marriage of his mother to the same man and the second by her husband who has agreed to marry somebody else. Both are left alone dealing with these events. As madness may be described as “mental incapacity caused by an unmentionable injury”, it is with no surprise that Hamlet or Medea would fall in the hands of insanity. However their actions and words prove the opposite. We can thus suppose that they are both feigning madness to achieve revenge. Medea thinks about the consequences before taking action “what state would take me in? What friend would offer me his land as refuge”. Hamlet weighs also his options as he does not know whether he should defend his father’s honor or not, “Now might I do it pat, now he is praying;...
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...King’s presence in Birmingham and his methods of public demonstration were questioned. King’s letter was not only a response to his presence in Birmingham, but he also used the opportunity to address the unjust proposals by the clergymen that Negroes wait for the legal system to abolish segregation and unjust laws. King uses rhetorical modes of persuasion such as ethos, pathos and logos to meticulously address and discredit the claims made by the eight white clergymen. Throughout his letter, King also makes many comparisons to effectively illustrate how the Negro pursuit of freedom was timely. To answer the question of his presence in Birmingham, King uses both ethos and pathos to explain why he is qualified to be present leading the demonstrations. To argue the perception of him being “an outsider coming in”, King first states that because he has organizational ties in Birmingham, he has an obligation to be available whenever he is needed. This statement discredits the notion that he is an outsider. To lay the foundation of his argument, King states, “But more basically, I am in Birmingham because injustice is here.” This statement is used to make King’s presence seem less personal because he is not only there for his beliefs, but because of the plight of Negroes and the unjust laws they are subjected to. King’s address also leads into the basis of his argument. Next, King compares himself to prophets and the Apostle Paul. King writes: "Just as the eighth-century prophets left...
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...Hamlet Motif Analysis Assignment Appearance or Reality “Horatio says ‘tis but our fantasy,/ And will not let belief take hold of him” (I,1,23-24) “In the same figure, like the king that’s dead.” (I,1,41) “Seems, madam! Nay, is is; I know not “seems.”[…] Nor the dejected haviour of the visage, / Together with all forms, modes, shapes of grief, / That can denote me truly: these indeed seem, /But I have that within which passeth show; / These, but the trappings and suits of woe. (1,1,76 and 81-86) “The will of my most seeming-virtuous queen;” (I,5,47) “That one may smile, and smile, and be a villain;” (I,5,109) “for there is nothing / either good or bad but thinking makes it so: to me it is a prison” (II,2,249-251) “The spirit that I have seen / May be the devil: and the devil hath power / To assume a pleasing shape” (II,2,596-598) “’Tis too much proved that, with devotion’s visage, And pious action, we do sugar o’er/The devil himself” (III,1,47-49) “he weeps for what is done”(IV,1,27) “Why, even in that was heaven ordinant. / I had my father’s signet in my purse, / Which was the model of that Danish seal: / Folded the writ up in form of the other; / Subscribed it; gave’t the impression; placed it safely, / The changeling never known.” (V, 2, 48-53) Clothing “Such was the very armour he had on / When he the ambitious Norway combated;” (I, 1, 60-61) “Good Hamlet, cast thy knighted colour off, / And let thine eye look like a friend on Denmark...
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...Horatio, to watch with them. When he sees the ghost, he decides they should tell Hamlet, the dead King's son. Hamlet is also the nephew of the present King, Claudius, who not only assumed his dead brother's crown but also married his widow, Gertrude. Claudius seems an able King, easily handling the threat of the Norwegian Prince Fortinbras. But Hamlet is furious about Gertrude's marriage to Claudius. Hamlet meets the ghost, which claims to be the spirit of his father, murdered by Claudius. Hamlet quickly accepts the ghost's command to seek revenge. Yet Hamlet is uncertain if what the ghost said is true. He delays his revenge and begins to act half-mad, contemplate suicide, and becomes furious at all women. The Lord Chamberlain, Polonius, concludes that Hamlet's behavior comes from lovesickness for Ophelia, Polonius's daughter. Claudius and Gertrude summon two of Hamlet's old friends, Rosencrantz and Guildenstern, to find out what's wrong with him. As Polonius develops a plot to spy on a meeting between Hamlet and Ophelia, Hamlet develops a plot of his own: to have a recently arrived troupe of actors put on a play that resembles Claudius's alleged murder of Old Hamlet, and watch Claudius's reaction. Polonius and Claudius spy on the meeting between Ophelia and Hamlet, during which Hamlet flies into a rage against women and marriage. Claudius concludes Hamlet neither loves Ophelia nor is mad. Seeing Hamlet as a threat, he decides to send him away. At the play that night, Claudius runs...
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...Waiting Many critics consider Samuel Beckett’s Waiting for Godot, rst performed in Paris in 1953, the most important twentieth-century play in the Western canon. Despite the undeniable historical and aesthetic signi cance of Waiting for Godot, however, the question poses itself: to what extent may an absurdist play—about two bums waiting on the side of a country road for a person who never arrives— still strike us as relevant today? is question cannot be answered univocally, but depends on the interpretive choices made in the actual process of producing Beckett’s play on stage. My goal as the director of this Kennedy eatre production is to create a thoroughly contemporary experience that evades the usual clichés many have come to associate with Beckett’s style, such as monotony and leadenness. From this vantage point, I will now identify two major challenges to any stage production of Waiting for Godot in 2010—challenges relating to the historical and metaphysical background of the play. e setting (country road, tree), costume items (bowler hats, halfhunter watch), and habits of the characters (the pipe-smoking Pozzo), as well as the poverty and frugality of the two protagonists (a diet of turnips, radishes and carrots for Vladimir and Estragon), clearly suggest earlier historical periods such as the Irish Potato Famine from around 1850, the wasteland of northern France in the wake of the trench warfare of WWI, or America’s Great Depression in the 1930s. e names of the characters...
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...want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously aware we are, the more alive the text becomes to us. d. If you don’t recognize the correspondences, it’s ok. If a story is no good, being based on Hamlet won’t save it. 6. When in Doubt, It’s from Shakespeare… a. Writers use what is common in a culture as a kind of shorthand. Shakespeare is pervasive, so he is frequently echoed. b. See plays as a pattern, either in...
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...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The...
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...and view a company and its incorporators as a single entity. The extent to which the courts will uphold the principle in Salomon will be discussed below. In Macaura v Macaura Macaura exchanged his timber and estate for shares in a company, the timber was insured in his name and subsequently got burnt, Macaura neglected to have the timber insured in the company’s name hence the insurers said he had no claim to the timber. Macura followed the decision in Soloman however my point of focus is on Lord Wrenburys statement “The corporator even if he holds all the shares is not the corporation”. This statement shows that strictness at which the courts uphold the corporate veil, In reality if Macura held all the shares in the company it would be unjust to deny him the insurance as despite the legal implications the reality of the situation is, Macuara acted to his detriment when insuring the timber and Macura would reap the profits from the timber. Lord Wrenbury is out rightly stating...
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...Sophocles' Oedipus is a perfect fit to Aristotle's Ideal Tragic Hero. Oedipus follows all of the rules, with a hamartia, an anagnorisis, and a peripeteia. The audience is introduced to the hamartia, or tragic flaw, of Oedipus early in the play. Oedipus believes he can dodge the oracle given to him at Delphi that he will kill his father and marry his mother. By leaving the city of Corinth and heading to Thebes, Oedipus thinks that he can outsmart the will that the gods have for him. However, the audience knows that one cannot run away from an oracle. The oracle will come true no matter what is done. Therefore, the hamartia of Oedipus is his belief that he can evade his oracle. Oedipus' anagnorisis, recognition, later comes when he is told that it was he who killed the former King Lauis and that he is, in fact, now married to his own mother. The city of Thebes had been searching for King Lauis' murderer in order to drive him out of Thebes to save the city from the plague. With this anagnorisis Oedipus is finally led to his peripeteia, or downfall. First of all, Oedipus is put to shame in front of his entire city because of his incestuous act of marrying his mother. But, more importantly, he realizes that he had not successfully avoided the oracle. In order to try to save himself he blinds himself. If he is not able to see the truth with his own eyes, he should not be able to enjoy the gift of sight. http://personal.monm.edu/ysample/aristotle.htm Oedipus follows ten of the points...
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..."DIMITRIE CANTEMIR" Christian University FACULTY OF FOREIGN LANGUAGES LOVE AND TIME IN SHAKESPEARE’S SONNETS GRADUATE: SCIENTIFIC COORDINATOR: -2016- Important aspects about William Shakespeare William Shakespeare, English dramatist and poet He is considered the greatest writer of the English language literature of all time The first one (until approximately 1598) belongs to a series of pieces in which youth girded Shakespeare’s current fashions, adapting issues to public taste In the second Shakespearean stage, which runs from 1598-1604, are located the pieces often called "middle works", characterized by a higher stage virtuosity Dramas Julius Caesar, Hamlet and Othello announce the next period, known as the great tragedies (1604-1608), in which Shakespeare delves into the deepest feelings of the human being The final phase (1608-1611) shines his latest masterpiece, The Tempest, in which fantasy and reality intermingle offering a testimony of wisdom and acceptance of death. •Human vision (caught in the passion play); •Relationship with the company and provided genius; •Nature, love and art - universal ways of saving time and evil attack. Sonnets give the feeling and eventually even convince the reader to visit a temple and understands that the priest officiating the ritual union between text and reading is a creature with a special expertise whereof modern poetry can not even have the feeble idea ANALYSIS OF WILLIAM...
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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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...Source: CHRYSSIDES, GEORGE D. and KALER, JOHN H. (1993). An Introduction to Business Ethics. London: Chapman and Hall. Pages 79−106, 143‒146. [The text is derived from a publisher’s proof, and may differ slightly from the finished book. If quoting, it is best to cite the relevant WOLF page.] CHAPTER THREE ETHICAL THEORY In the previous chapter we looked at the role of values in business and considered how business ethics was becoming part of the professionalization of business. But what exactly are ethical judgments, and how do we justify them? At first appearance this may seem a needless difficulty. After all, is it not obvious what is happening when we make ethical decisions? Do we not do so almost every day of our lives in fact? It is one thing to engage in an activity, but often quite another to state what exactly is going on when we do it. For example, someone may have a tremendous gift for selling goods to people, but may not necessarily be aware, until he or she is taught, exactly what is going on when a successful marketing strategy is put into operation. One can instinctively put into operation the classical ‘three Ps’ of marketing (attention to Product, Price and Packaging), but yet be unaware, until this is pointed out, that these are the key features of selling. In a similar way, we can make moral judgments, but yet find some difficulty in explaining exactly what is taken place when we do so. In the case of ethical judgments, the situation is...
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...The 4th of August 2011 the police shot Mark Duggan, a black man living in Tottenham – a borough in Greater London. The event created a strong reaction form the local youth. After a march on Tottenham Police station to protest the death of the man, the demonstration turned into a series of violent acts in the streets that quickly developed and spread across London and other cities all over England. A major debate arose about the inner causes of the insurrections and the media and politicians promptly pointed out several hypothesis. The August 2011 events have been primarily interpreted, especially amongst the political class, through a lens that emphasises criminality. ,one prominent argument advocates that the cause of the unrest was the moral decay of ‘a feral underclass’ (Scrambler; Grover 2011) However, many of such explanations tend to be mostly speculative and they often fail to provide a consistent account of the causes of the riots based on solid evidence (the LSE/theguardian, 2011, Solomos, 2011). Against this background this essay attempts to disentangle the motives of the London 2011 riots, by focusing on the relations of causality between factors and events that led to the burst of the unrest. It argues that urban social inequalities as well as uneven processes of exclusion and inclusion of a marginalised class are the main factor underlying the disturbances. Yet this essay claims that these riots need also to be analysed in the very specific context in which...
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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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