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Bosola character in duchess of malfi
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Both of the above quotations have elements of truth to them, but I think that to look at the character of Bosola, an audience would concentrate more on his actions and how they change his interpretation of the brothers, causing him to kill them at the end of the play. There are many layers to Bosolas character which encourage us to think that he is mentally unstable, e.g. killing the Duchess for his own self-interest as well as for the brothers. This does not make him a corrupt human being, but someone who has been forced into a corner, unsure of his actual status. Neither quote defines his change of self and portrays Bosola as a particular human being instead of one who transforms as a result of the corrupt society around him. He moves from our first impressions a murderer who is only out for himself, living off the death of others, to a man who seems to be a lost member of society trying to find his way in a world where money and greed take over. Bosola is seen the play as `Malcontent', a person unhappy with society, as well as with his position within that society. Webster has created a character that never knows where he stands in regard with society. He is challenged, and to a certain extent controlled by the brothers who are only out for their own self interest, but unfortunately by the time Bosola realises their nature it is too late to right the wrongs for which he has committed.
We first see Bosola near the start of the play when he has returned from the `galleys' after a prison sentence for murder. In his language he conveys his emotional state and the anguish he has been put through whilst being locked away.
`I fell into the galleys in your service, where, for two years together, I wore two towels instead of a...
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...eading up to the death of the Duchess, Bosolas character adopts a more detached and withdrawn stance in the scene. His language is precise and to the point. The audience could interpret this as cold malice on Bosolas part by the way that he shows no remorse toward the Duchess and just wants her dead. Another way this could be interpreted is that his lack of words indicates that he doesn't like what he's doing and so wants it over with as soon as possible. When Bosola asks the Duchess;
`Doth not death frighten you?' (IV.ii.208)
I think that this line shows more than anything that Bosola is more humane than if this line was compared to a line near the start of the play. I think he genuinely cares about the Duchess, as it is as if his question should have been asked by someone else and not him. It seems an odd thing to ask just before he kills her.
The Commander of the division to which I belonged, as soon as soon as we were on board the ship, appointed me to boatswain, and ordered me to go to the captain and demand of him the keys to the hatches and a dozen candles. I made the demand accordingly, and the captain promptly replied, and delivered the articles; but requested me at the same time to do no damage to the ship or the rigging. We then were ordered to ...
Act one scene one of Much Ado About Nothing is always greeted with delight in the theatre for many reasons. It begins when Don Pedro and company enter a "golden world" in Messina where the women are already located. In this situation, people fail to take things seriously, causing the war of swords to soon turn into a war of words. Benedick and Beatrice are the main examples of male/female rivalry that converts into belligerent wordplay. The scene is greeted with delight because it is the first encounter between Beatrice and Benedick and Leonato has already explained the situation between them, stimulating the audience with the want to know more about the relationship between them. ?There is a kind of merry war betwixt Signor Benedick and her: they never meet but there?s a skirmish of wit between them.? Leonato explains the relationship between Beatrice and Benedick to the messenger. We also already know what Beatrice thinks of Benedict from her first line in the play whereupon she asks ?I pray you is Signior Mountanto returned from the wars or no?? Here she makes a joke about Benedick?s arrogance as Signior Mountanto can be translated as Signior Stuck up. However there may be more to this than meets the eye, it is obvious that she cares about him otherwise she would not have asked but the covers this up with a snide comment bout the ego of Benedick. Here the audience has already established that both Beatrice?s verbal wit and dexterity and her apparent disdain for Benedick and what might be seen as her attempt to mask her true feelings and this is greeted with delight in the theatre.
a bourn how far to be belov'd' and here she is teasing him, and saying
Great leaders undergo reinvention throughout different periods in history, and Boudicca is no exception. The fluidity of her persona is manipulated frequently, but one of the common recurring themes is male discomfort with her extension of gender boundaries. However, fighting against this is the feminist interpretation of her as being somewhat superhuman. This image is often integrated with some of the lighter parts of the violent and vengeful description of Boudicca, while the darker sections were left to the Romans. Finally, there is the vastly different image of Boudicca’s romantic representation, which obscured many of her war-like traits in order to conform to Victorian ideals.
When the Leonato’s were informed of the return of the soldiers from war, Beatrice instinctively asked, “ is Signior Mountanto returned from the war” (1:1). Beatrice being the first to ask of Benedick’s return is indicative of a longing for his companionship and well-being, thusly suggesting a hidden love for him. While wearing a mask at a party, Beatrice insulted Benedick--who was also wearing a mask-- by pretending that she did not know who he was and declaring that, “he is the prince’s jester: a very dull fool”(2:1). Beatrice making fun of Benedick while wearing a mask parallels how Beatrice’s mask of pride prevents her from openly expressing her true feelings for Benedick. Prior relationships often leave their members with a mixture of love and pride, inhibiting the ease of future revelation but increasing the prominence of
The developments of citizens were influenced by the achievements of the leaders in their society. In most cases leaders were men as the ancient world was a male dominant society but every now and then due to the circumstances forced upon them some women would rise to be leaders. This was very true in the case of Boudicca due to the circumstances and ill-treatment of her family she rallied her people to take on the might of the roman empire but Zenobia was in a unique position in a society that tolerated the influence of power and women even so she had to improve herself. These women forged a place in themselves in history by their action and achievements providing rule models for future generations.
One of the first things that Lord Angelo does after taking over for the Duke is to enforce the already existing rules upon the people. Lord Angelo seems to view himself as a bit more of a disciplinarian than the Duke. Unfortunately, it is Isabella’s brother, Claudio, who Angelo makes an example out of for the entire town. Claudio has slept with his longtime girlfriend Juliet. Juliet is now pregnant and the entire town knows of their “sin.” Lord Angelo wants the town to know that this type of behavior is unacceptable and summons Claudio to be killed. Claudio quickly calls for his loving and pious sister Isabella to come and vouch for him ...
The narrator in “the Book of the Duchess” is more than just a character unable to identify the truth behind the knight’s metaphors, he is seeking for something greater. The narrator has an ulterior motive to try and make the grieving knight discuss in greater detail of the tragic loss. In this paper, an argument will be make that the narrator has ulterior motives in regards to his interactions with the grieving knight. In particular, this paper will discuss the methods in which the narrator uses to better invoke an emotional responses from the knight. To clarify the thesis of this paper, narrator uses methods such as pretending to be ignorant of the situation or acting coldly towards the knight to extract more information about the loss. The
Shakespeare authors a conspiratorial tone through the use of directives and parenthetical clause portraying Borachio as a dominant and manipulative force throughout the passage. As Borachio divulges his scheme to Don John, Shakespeare utilizes the constant use of toxic words such as “poisonous”, “kill” and “misuse”, to establish the sinister nature of Borachio’s character. Shakespeare asserts Borachio’s authority over Don John through the use of the verbs “go” and “tell” followed by instructions at the beginning of his sentences. Don john repeatedly asks Borachio for advice, “what life is in that to be the death of this marriage?”, subverting his jurisdiction and succumbing to his overwhelming need to abolish his brother’s birthright stating
...the actions of his guest to how the Duchess acted. Since the Duchess was loose in her behavior, Duke Ferrara ultimately sought to control her through murder.
“That’s my last Duchess painted on the wall, looking as if she were alive.” The duck of Ferrara starts his monologue with a sight of regret that raises the sympathy of the readers and makes them feel that he had lost his beloved wife and is very upset about that. However, in the next few sentences he reveals the dark side of his character and brings the readers to a realization that the Duck of Ferrara is not a noble gentle man. In fact, he is a hysteric murderer who has killed his wife and is very arrogant, possessive, and oppressive.
Benedick addresses Beatrice in a close and affective manner using the forms “sweet Beatrice” and the pronouns “thy” and “thee”. These forms could be considered as expressive of positive emotions like love, passion and affection, which are used to mark the discourse of intimacy (Culpeper, J. 2002). Although Beatrice is also confessing her love, she makes constant use of the you-form, which could be seen as an indicator of high formality and respect in order to keep the situation serious. Suddenly, when Beatrice asks Benedick to kill Claudio, the situation becomes more serious. Beatrice changes her attitude when Benedick denies her request, she is so infuriated that she wants to leave, but Benedick keeps his closeness. Hence the use of the first name, “Beatrice” and “sweet Beatrice” as a terms of endearment when she is consistent in her idea to leave as a result of her wrath. This form of address is avoided by Beatrice, possibly to establish distance because she expected Benedick to fulfil her
...The caesura within the quote emphasizes the emotionless personality of the Duke, and his lack of value for life. He makes these choices because of his dominance in the social hierarchy, both as a male and a duke. This quote also shows the immense degree of influence one can have on another’s life, in changing it, bettering it or in this case ending it.
...essing anyone who was around or even just addressing himself. However, Bolingbroke is not a man of many words; he feels the need to physically atone for his part in the murder, "To wash this blood off [his] guilty hand" (5.6.50).
In the midst of the confusion concerning Hero, Beatrice and Benedick finally confess their love toward each other. Attempting to test their true love, Beatrice requests Benedick to kill Claudio in punishment for publicly humiliating her cousin. In fear and surprise, Benedick then states that perhaps they should remain friends for a while. This response was no good to Beatrice and Benedick wants not to lose their romance, so, to prove his undying love, he challenges Claudio to death.