Shakespeare
Final Opportunity for Reflection and Writing
Identifications:
"Stand and unfold yourself"
This quote comes from Shakespeare's Hamlet. Francisco and Bernardo are two guards standing watch in the middle of the night at the castle Elsinore. This is the second line of the play, spoken by Francisco in response to Bernardo's question of who goes there. It is an important part because it sets the tone for the rest of the play. Much of the story involves secret presences and the knowledge that people are being watched. This happens with Polonius as he is stabbed by Hamlet and with Hamlet when he is being watched by his uncle/stepfather. Uncertainty about being alone and who or what may be around lends to the overall confusion and mania of the characters which invariably leads to the tragedies which each of the characters then experience.
"tis the sport to have the enginer / Hoist with his own petard"
Hamlet speaks these lines in Act III of the play which bears his name. After he has finagled the performance of a play which mirrors the murder of his own father, Hamlet now believes with certainty that his Uncle Claudius has killed the father in order to take the mother and the throne. In response, Claudius has arranged for Hamlet's two friends Rosencrantz and Guildenstern to kill Hamlet while en route to England. The quote refers to Hamlet's determination that it will be his two friends and not himself who die. As they planned for his death, they shall be the means of their own ends. Only by their own actions will they die.
3. Touchstone
Touchstone is a character that is found in William Shakespeare's As You Like It. His role in the relationships of the story is that of the fool or court jester. To the audience, however, he functions as a master of exposition, telling the audience what is going on and what some of the unseen motivations and relationships are between characters. In many of William Shakespeare's plays, the character that fulfills the position of the fool or jester as an occupation is given the lines which explain either the subliminal or imperceptible truths of situations and of people that are in the text. This is a literary conceit which would have been expected of works of literature or drama at the time that Shakespeare was writing. Since the fool, by his very nature and occupation, is supposed to be ridiculous and someone of whom others will take little note or if they do pay attention, they will not take at all seriously. It is because he is more or less ignored by the characters that he can be the one character who always speaks the truth, no matter how unpalatable it may be.
4. "And one man in his time plays many parts / His acts being seven ages."
This quote comes from As You Like It. Jacques says these lines in his famous "All the world's a stage" speech. In the speech, the character expresses his ideas about mankind and how each person has seven stages of life. At each stage, he or she will be assigned a role to fulfill either through familial responsibility, occupation, or designs. There is of course a secondary meaning in the speech. Much of the story has to do with characters who are pretending to be either someone or something that they are not, particularly Rosalind who pretends to be a man. If all men and women are performing at all times of their lives, then Rosalind is not really doing anything out of the ordinary. Rather she serves as a representation of all the people around her.
5. Laertes
Laertes is a character in the play Hamlet. He is an extremely important character to the plot, although his importance is only seen at the end of the play. Laertes is the son of the priest Polonius and the older brother of Ophelia, late female companion of Prince Hamlet. At first, Laertes seems to only be a peripheral character. Towards the beginning of Laertes is leaving Denmark to make his place in the world somewhere far from Elsinore Castle Hamlet,. When both of these characters die, one directly at Hamlet's hand and one more indirectly, Laertes demands to be avenged for the deaths of his loved ones. He conspires with King Claudius to use a poisoned sword during a fencing match with Hamlet. During the course of the fight, Laertes is injured with his own poisoned sword and dies, not before injuring Hamlet...
In his "to be" soliloquy, Hamlet explores how we can sometimes kill our motives when we think about them too much. He is thinking of Fortinbras when he makes this statement because he is aware that there is something in him that is very different from Fortinbras and he attempts to figure this out. Thoughts "make cowards of us all" (Shakespeare III.i.91). He states, wishing he could not think
Shakespeare: Analysis and Response "Then must you speak of one that loved not wisely, but too well; of one not easily jealous, but being wrought, perplexed in the extreme . . . " The quote at hand is from William Shakespeare's work, Othello. Othello speaks these words during his final farewell speech within the play. After realizing that he had been tricked into believing the lies of Iago, Othello realizes that he
There is a continuing debate within scholarly circle about the "motiveless malignity" of Iago. (Kolin 214) In other words, a close reading of the play raises the question as to whether evil is spurred by ulterior motives and feelings such as jealously or whether evil is a purely senseless act that is its own motive. The poet Coleridge was of the view that Iago represents senseless evil in human nature
It also widened her female audience much further than the small group of upper-class women with whom she was acquainted (ibid). Overall, this work represented Lanyer as a complex writer who possessed significant artistic ambition and "who like other women of the age wrote not insincerely on devotional themes to sanction more controversial explorations of gender and social relations" (Miller 360). In her work, Lanyer issued a call to political action
Visions of Death as Part of the Life Cycle While the terms "life" and "death" are considered to be polar opposites by most standards, some authors view them as part of the same infinite cycle. For writers like Emily Dickinson and Jean Rhys, death is merely a transitional stage; it is not the end of existence any more than life is the beginning. Evidence of this view of death as a
Death and Dying in "Do Not Go Gentle Into That Good Night" and "Because I Could Not Stop for Death" Death is a common theme in poetry and has been written about and personified throughout history. Among some of the most recognizable poems that deal with the subject are "Do Not Go Gentle Into That Good Night," by Dylan Thomas (1951), and "Because I Could Not Stop for Death," by Emily Dickinson
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