... of his madness by going into her room “with a look so piteous in purport as if he had been loosed out of hell to speak of horrors,” (2.1.92)and grabbed her and examined her face. Then he let out ”a sigh so piteous and profound as it did seem to shatter all his bulk and end his being.” (2.1.106) After that incident, Polonius believes, that Hamlet's madness “is the very ecstasy of love.”(2.1.115) Claudius is convinced, however, that that is not the case. He believes that something else is troubling Hamlet. “Love? His affections do not that way tend; Nor what he spake, though it lacked form a little, was not like madness. there's something in ...
... Macbeth! that shalt be King hereafter. (Act 1, Scene 3, Lines 48-50) With this information Macbeth was provided with incentive to kill Duncan the King of Scotland. He was tempted into believing that if the King was murdered, he was to become what the witches predicted. While the witches never said this, Macbeth assumed that that was what they meant and the subsequent murder of Duncan was carried out by Macbeth himself, but, he also ordered special murderers to kill Banquo, Lady Macduff and her children. The murder and bloodshed had absolutely nothing to do with the witches. Macbeth acted totally out of his own will and b ...
... Their actions frightened other young people, who soon showed the same symptoms, such as loss of appetite and sickness. A belief quickly spread over Salem and throughout the state that evil spirits are being seen in Salem. Terror took possession of the minds of nearly all the people, and the dread made the affliction spread widely. "The afflicted, under the influence of the witchery, "admitted to see the forms of their tormentors with their inner vision" (Miller 1082). and would immediately accuse some individual seen with the devil. At times the afflicted and the accused became so numerous that no one was safe from suspicion and its consequences. Even those ...
... do choose Caesar for their king...yet I love him well."(act 1, scene 2, ll.85-89), as he is speaking to Cassius. Brutus loves Caesar, but would not allow him to "climber-upward...He then unto the ladder turns his back..."(act 2, scene 1, ll.24,26). As the quote says, Brutus would not allow Caesar to rise to power and then turn his back onto the people of Rome. After the assassination of Julius Caesar, Brutus talks to Antony about Caesar's death. "Our hearts you see not; they are pitiful; and pity to the general wrong of Rome..."(act 3, scene 1, ll.185-186). Brutus says that Antony cannot see their(members of the conspiracy) hearts, which are full of pity. Again, ...
... her own, without other people trying to help her. Society dictated at the time that she listen to her husband and obey. Borrowing money from Krogstad was not only a disobedience to society, but a personal freedom. A personal freedom that she had craved for all of her life. Torvald just about is what society expects of him. Torvald runs his household with an iron fist. He is this way most likely because he is afraid of what might happen if he did not do what the world expected him to do. He wants society to see him as a respectable man with a great position. Torvald in fact fires Krogstad because of this: “he thinks that entitles him to take a famili ...
... be alive. Friends do not share souls as families do. Friends come and go, some quicker then others but rarely forever. You do not always share as much love with your friends then compared to your family. To die for friends is questionable. Only the forever friend, will I die for, but how could I tell the future. One does not know the future, and for that reason is my value towards my friends questionable. As for my country I refuse to risk my life for dictator who is on a power trip. Almost all wars are useless as the war of Vietnam. Did the American solider fight for his family or did he risk his life because the president said so. World War 2 was a war to ...
... you durst do it, then you were a man;" (I.vii.55) suggests that she and Macbeth have contemplated and possibly committed murder for the sake of advancement before. Macbeth provides further support for this in his reaction to the witches' prophecy that he will be king. After Macbeth is made Thane of Cawdor, he realizes that the witches were right, and immediately begins to ponder the other part of their prophecy. "My thought, whose murder yet is but fantastical," (I.iii.153) he thinks, bringing murder to the front of his mind almost as soon as the witches are proven right. Later in the play, Macbeth's desire for power, encouraged by the witches, leads him to kil ...
... were not for costumes the result of love might have been drastically different. How was the masque used to get lovers together? In the case of Romeo and Juliet, Romeo hears about the masque and decides to go, thinking that he might be able to get away with this scheme. Upon entering he sees Juliet and right away, he knows it is love. If he had not worn the costume, the hosts might have ejected him from the party and he might not have met Juliet. Much Ado About Nothing has a similar but also different approach towards love at the masque. In Much Ado, Count Claudio is not able to gather the courage to court Hero. Instead Don Pedro, who is one of Claudio's very close ...
... father, her dead husband. At this point in the speech, Hamlet may merely mean that his grief for his father is genuine, but “passeth show” may also mean that he has some sort of feeling that can’t be shown by “the trappings and suits of woe” --his black clothing and cloudy face. These feelings that may very well be hidden from his own conscious are - what I believe - a truth to his indecisiveness on anything he attempts. Indecision in a man, or woman, for that matter, is a strong symbol of his/her lack of perception. Hamlet says that the King is “My father’s brother, but no more like my father / Than I to Hercules.” This comment made by Hamlet, ...
... readings as well as such familiar oppositions as masculine and feminine, positive and negative images of women, reinscription and subversion of patriarchal ideologies. The tension between the film’s uses of narrative and image works to interrogate and problematize both feminist and antifeminist assumptions about gender, power, and subjectivity. In Alice Doesn’t Teresa de Lauretis claims that feminist film theory has gone well beyond the simple opposition of positive and negative images, and has indeed displaced the very terms of that opposition to a sustained critical attention to the hidden work of the apparatus. It has shown, for instance, how nar ...
