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Shakespeare research paper
Shakespeare research paper
Shakespeare research paper
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Animal Imagery in Shakespeare's Coriolanus
Caius Martius Coriolanus, the protagonist in Shakespeare's play that bears his name, undergoes a circular transformation. He changes from the hero of Rome to an outcast and then back to a hero. As he undergoes this transformation he is likened to a dog, a sheep, a wolf, and an osprey. The invocation of animals to describe Coriolanus is ?perhaps based in the very animal like nature of Coriolanus himself?(Barton 68). His actions like those of an animal are not based on rational thought, instead they are based on instinct. Like an animal he is lacking in speech and can only perform the role that he has been given.
Twice in the play the description of Coriolanus is tied in with the invocation of the image of a wolf. The invocation of a wolf as a counter to the nature of Coriolanus shows the way in which Coriolanus is played against himself in the text. He is treated by the text as prey. He is a pitiful creature who falls prey to the motives of the other characters in the play. In Act 2 Scene 1 the use of the image of the wolf portrays Coriolanus as a potential quarry of the masses:
MENENIUS: Not according to the prayer of the people, for they love not Marcius.
SICINIUS: Nature teaches beasts to know their friends.
MENENIUS: Pray you, who does the wolf love?
SICINIUS: The lamb.
MENENIUS: Ay, to devour him; as the hungry plebeians would the noble Marcius. (Shakespeare 2.2.5-10)
Coriolanus in this passage is likened to a lamb. Even his friend and supporter Menenius sees that Coriolanus although feared by the people outside the walls of Rome is easy prey for Rome's own citizens. The second place in the play where Coriolanus is seen as pitiful is in Act 4 Sc...
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...oriolanus speaks in long lines to the Volsces generals. His speech is that of a shepherd who has been through much. He relates his banishment from Rome in long flowing and bitter lines.
?Coriolanus is manifest in his play as both a lamb and a shepherd he is a defeated man who becomes the pray of the wolves of Rome?(Barton 112).
Works Cited and Consulted
Barton, Ann. "Livy, Machiavelli, and Shakespeare's Coriolanus ." In William Shakespeare's Coriolanus, ed. Harold Bloom, New York, 1988.
Frye, Northrup. "Nature and Nothing." Essays of Shakespeare. Ed. Gerald W. Chapman. Princeton, NJ: Princeton University Press, 1965.
Shakespeare, William. Coriolanus , ed. John Dover Wilson. Cambridge, 1969.
Wilkie, Brian and James Hurt. "Shakespeare." Literature of the Western World. Ed. Brian Wilkie and James Hurt. New York: Macmillan Publishing Co., 1992.
Shakespeare, William. “The Tragedy of Julius Caesar.” Elements of Literature: Kylene Beers. Austin: Holt, 2009. 842-963. Print.
Shakespeare, William. “The Tragedy of Julius Caesar.” Elements of Literature: Kylene Beers. Austin: Holt, 2009. 842-963. Print.
Shakespeare, William. “The Tragedy of Julius Caesar”. Elements of Literature. Ed. Deborah Appleman. 4th ed. Texas: Holt, Rinehart, and Winston, 2009. 843-963.
The play The Tragedy of Julius Caesar by William Shakespeare showcases many characters and events that go through many significant changes. One particular character that went through unique changes was Julius Caesar. The 16th century work is a lengthy tragedy about the antagonists Brutus and Cassius fighting with the protagonists Octavius, Antony, and Lepidus over the murder of Julius Caesar. Although the play’s main pushing conflict was the murder of Julius Caesar, he is considered a secondary character, but a protagonist. Throughout the theatrical work Julius Caesar’s actions, alliances, character developments, and internal and external conflicts display his diverse changes. William Shakespeare retold a very unique event
The framework for the therapist to establish interventions could suggest help both child a parents identify appropriate skills and behaviors. This crucial stage deals with the youth begins recognizing his or her identity. Therapist can teach the parents how to be good listeners and be mindful of their reactions to the youth’s emotional needs. The five stage is the adolescent (identity vs. role) Her the youth is more in tune with their identity or struggle with acceptance and interpersonal conflict if the parent neglects to listen, give room for growth (freedom), teach responsibilities. If a youth is unable to deal with the stressors of maturing, they will indeed transfer a lot of emotions to others. The therapist will have the opportunity to conduct family sessions that will aide the youth and parents in learning active listening skills, becoming sensitive to the youth establishing or managing the challenges of growing into their identity. The sixth stage depicts young adulthood (intimacy vs. isolation). Youth will struggle here if again there was a lack of love rendered from parents and subsequently they will fail to build intimate relationship. This can also be true if parents refuse to allow the young person have some control and responsibility
within a family tear it apart. Every member of the family is to a degree
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Shakespeare’s complex play The Tragedy of Julius Caesar contains several tragic heroes; a tragic hero holds high political or social esteem yet possesses an obvious character flaw. This discernible hubris undoubtedly causes the character’s demise or a severe forfeiture, which forces the character to undergo an unfeigned moment of enlightenment and shear reconciliation. Brutus, one of these tragic heroes, is a devout friend of the great Julius Caesar, that is, until he makes many execrable decisions he will soon regret; he becomes involved in a plot to kill the omniscient ruler of Rome during 44 B.C. After committing the crime, Mark Antony, an avid, passionate follower of Caesar, is left alive under Brutus’s orders to take his revenge on the villains who killed his beloved Caesar. After Antony turns a rioting Rome on him and wages war against him and the conspirators, Brutus falls by his own hand, turning the very sword he slaughtered Caesar with against himself. Brutus is unquestionably the tragic hero in this play because he has an innumerable amount of character flaws, he falls because of these flaws, and then comes to grips with them as he bleeds on the planes of Philippi.
Bloom, Harold. William Shakespeare's Julius Caesar. Chelsea House Publisher; Connecticut, New York, & Pennsylvania. 1988, Pg. #33 - 36
They are the best. In this paper I hope to give examples of animals imagery used in “Othello” that assist in explaining the story. play. I will be there. The specific examples I present will describe a character either as seen by himself or by a fellow.
This essay will illustrate the types of characters depicted in Sophocles’ tragic drama, Oedipus Rex, whether static or dynamic, flat or round, and whether protrayed through the showing or telling technique.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Mercy is a word that is often overused and inaccurately referenced. We hear faint echoes of Uncle Jesse saying "have mercy" or some executioner stating that God may have mercy on your soul. But I do not think that these are the connotations that we should have with this precious powerful word. The general or average North American English speaker would agree that the word mercy would encompass compassion or forgiveness shown toward someone whom it is within one 's power to punish or harm. I would like to address 7 topics in which we should incorporate more mercy; and if done so we would have stronger more meaningful relationships. These ten topics are: sharing interests, spending time, communication, listening, knowing needs, being loving, and whole heartedly committing.
Throughout history men and women have been put into the rigidly defined roles of feminism and masculism. This box that society has created has push back the true people and presented us with the societal image of what men and women should be. This is gender stereotyping. Through these stereotypes a feminist movement and a masculine movement have arisen to try to break those stereotypes.