... is better to live in a world where he cannot see any goodness or take his own life. Hamlet has a very intense, philosophical personality. For this reason, he cannot take his life because he does not know what happens after one dies. He is not positive of an afterlife, therefore he doesn't have the courage to end his life. "Now might I do it prat," (Beaty, 1363) is a soliloquy in which we see a shift in Hamlet's rationalization. Hamlet, as his fathers only son, is seeking revenge for his fathers death, but is afraid that a quick death for Claudius would not be enough. Hamlet feels that waiting until Claudius is in an immoral situation would make him suffer in ...
... We had a talk before he left. We sat down in the courtyard. It was a beautiful day and dad's presence was like another sun. He seemed to glow as he spoke to me. He said, "Hammy, I will be away for a while. I want you to watch mommy, and guard our fortress from invaders. Take this. It will help you be strong." He gave me a small gold dagger. He left that afternoon and I knew he wouldn't be back for a long time. Things carried on as usual. I ran around the castle playing and shirking any responsibility that I had. One day I was playing hide-and-go-seek with Laertes and the other kids. I accidentally strayed from the other kids. I just wandered around ...
... themselves. Just like Nora and Torvald, every character in this play is trapped in a situation of unturth. In "Ghosts", the play Ibsen wrote directly after "A Doll's House", the same conflict is the basis of the play. Because Mrs. Alving concedes to her minister's ethical bombardment about her responsibilities in marriage, she is forced to conceal the truth about her late husband's behavior ( ). Like "A Doll's House", "Ghosts" can be misinterpreted as simply an attack on the religious values of Ibsen's society. While this is certainly an important aspect of the play, it is not, however, Ibsen's main point. "A Doll's House" set a precedent for "Ghosts" and ...
... soliloquies, dreams, prophecies, and curses. Soliloquies are most commonly given in the firs two acts; such as in the opening Richard addresses the audience and tells them his plan for taking over the kingdom. Other soliloquies keep the audience updated on what’s happening and remind them of Richard’s plans. Prophecies also helped the development of the story. In the first act the audience is notified of a prophecy that was make to the king saying that he would be dethroned by someone bearing the initial "G". This resulted in Clarence being sent to the tower and eventually being murdered by Richard. The most important curse in Richard III occurs in Act I Sce ...
... the audience, and having powder embody that philosophy so that people will see him as some sort of role model. In general, this idea could work, but the writer of this particular film obviuosly missed the boat here. Instead of the independence imbodied in most people, Powder belives in a unification of all humans, every single one, through some sort of single- consciousness. The idea of using Powder as a role model can work, but the audience has to view powder as being worthy. Here Powder views people, unwilling to accept the idea of a single-consciousness solely on faith, as closed-minded. This dogmatic type of view nullifies any worth powder might have had as ...
... One of the theme of the film was activated when Scarlett O’Hara, the young heroine, was disgusted with the boys talking about war all the time. Her innocence and carefree nature could be seen in that scene. I was in awe with the lavish scene, beautifully costumed and photographed at the Twelve Oak’s ball and barbecue. Its magnificence suggests an idyllic culture with warming and abundant security. The major characters were one by one introduced with immeasurable boldness that draws the viewer to them. I was immediately attracted to the lighthearted and beautiful Scarlett when I first saw her. War was then introduced, and the South is looking toward the drea ...
... clearly in the form of a dream, it seems a good way of analyzing Dorothy's maturation is by looking at this dream compared with real ones, and using modern dream analogy from the Freudian perspective. The act that spurs the entire action of the movie, according to Freudian Daniel Dervin ( Over The Rainbow 163 ), is Dorothy witnessing the "primal scene". The "primal scene" refers to a child witnessing sexual intercourse between mother and father; an moment that is both terrifying and confusing to the child. According to Dervin, this event sends Dorothy towards her final stage of childhood development ( Freud believed in three stages of childhood development ) the ...
... people, he had Creon go to Delphi. When he learned of Apollo's word, he could have calmly investigated the murder of the former King Laius, but in his hastiness he passionately curses the murderer, and in so, unknowingly curses himself. "Upon the murderer I invoke this curse whether he is one man and all unknown, or one of many may he wear out his life in misery or doom! If with my knowledge he lives at my hearth, I pray that I myself may feel my curse." In order for Sophocles' Greek audience to relate to the tragic figure, he had to have some type of flaws or an error of ways. This brought the character down to a human level, invoking in them the fear that "it ...
... spiteful. Masks in this play are not just a theme; they are the whole basis of it. The mask theme develops throughout the play as various characters try to cover their secret intentions with a veneer of a whole other person. One of the most obvious, of course is Claudius. Claudius murdered his brother, the former king Hamlet, in order to become king himself. This murder, which was done in secret, with no one but Cladius knowing that the act was committed by him. Not only is he the King of Denmark, but he is also married to Queen Gertrude, his brothers former wife. These hideous and awful crimes have not been punished, and no one knows that Claudius has done ...
... to “feign madness” (internet, Hamlet, pg. 1), and that if Horatio notices any strange behavior it is because he is putting on an act. Another big factor that suggests that Hamlet is only pretending is that he only manifests his “madness” around certain characters. These characters would be Polonius, Claudius, Gertrude, Ophelia, Rosencrantz and Guildenstern. His “madness” doesn’t come out around Horatio, Bernardo, Francisco, the players or the gravediggers. At one point Claudius himself admits that Hamlet’s “actions although strange, do not appear to stem from madness” (internet, Hamlet, pg. 1-2). Polonius also admits that Hamlet’s actions ...
