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Irony in Shakespeare
Why does shakespeare use dramatic irony in romeo and juliet
Shakespeare as a historian reference to play richard 2
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History and Tragedy in Richard II
An attempt to sort Shakespeare's plays into neat categories may appear to have its benefits when striving to understand his work, but even a superficial reading of Richard II indicates that this approach is largely futile and sometimes misleading. While it cannot be doubted that the play is of a historical nature, based on events recorded in Holinshed's Chronicles of 1577 and named after an actual king, a sense of true Shakespearean tragedy is also present throughout. Instead of trying to analyse or appreciate the differences between these two forms, it is more interesting to understand how they complement each other. Shakespeare vividly brings the past to life in Richard II, and it is
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The passiveness of the Queen is notable (the sorrow is 'coming towards' her), and the emphatic positioning of 'Is' at the beginning of the second line suggests that there is no escape from this looming disaster. The dramatic irony of the audience knowing that her intuition is correct can only lead to increased pity for her situation. Meanwhile the tragic inevitability of Richard's plight is touched on with the image of 'fortune' giving birth from her 'womb': the King and Queen are going to be presented with their decided destiny and they cannot change it. The fact that they cannot create their own children only adds a cruel irony to this idea of enforced …show more content…
The grand scale of this language emphasises the king's lack of control: only a god could accomplish these universal feats. Similarly, Salisbury declares that he envisages Richard's 'glory, like a shooting star,/ Fall[ing] to the base earth from the firmament' (II.iv.19-20). Like Green's metaphor, this use of exaggerated simile is reminiscent of Richard's limitations, the use of 'shooting star' particularly appropriate in describing the brief drama of his reign. Once again, the historical knowledge of the audience can serve to enhance appreciation of this description. Most fascinating are Bolingbroke's comments regarding Richard's imminent downfall, and once again the sense of inevitability dominates his sentiments. Intriguingly, he does not boast of his own confidence in overpowering Richard, but instead sends messages of 'kind commends' (III.i.38) to the Queen. This rather unexpected gesture of sympathy seems to imply that Richard is suffering from an incurable disease. It is as if Bolingbroke is completely uninvolved in the matter of Richard's downfall and is instead witnessing it from a distance, marvelling at the king's misfortunes like everybody
I feel that Richard gains our sympathy when he resigns the crown, refuses to read the paper that highlights his crimes, and smashes the mirror, which represents his vanity. In terms of kingship, I interpret the play as an exploration between the contrast with aristocratic pride in the law and the king's omnipotent powers. It also shows the chain reaction on kingship as past events in history determine present
Shakespeare constructs King Richard III to perform his contextual agenda, or to perpetrate political propaganda in the light of a historical power struggle, mirroring the political concerns of his era through his adaptation and selection of source material. Shakespeare’s influences include Thomas More’s The History of King Richard the Third, both constructing a certain historical perspective of the play. The negative perspective of Richard III’s character is a perpetuation of established Tudor history, where Vergil constructed a history intermixed with Tudor history, and More’s connection to John Morton affected the villainous image of the tyrannous king. This negative image is accentuated through the antithesis of Richards treachery in juxtaposition of Richmond’s devotion, exemplified in the parallelism of ‘God and Saint George! Richmond and victory.’ The need to legitimize Elizabeth’s reign influenced Shakespeare’s portra...
...in themes similar to those found in the two Henry IV plays, such as usurpation, rebellion, and the issue of lineage of royal right. But Richard II and King Henry V are decidedly more serious in tone, and in comparing them to I Henry IV and II Henry IV, the argument can be made that it is these two latter plays which resound with greater realism with the broader spectrum of life which they present. Shakespeare carefully balances comedy and drama in I Henry IV and II Henry IV, and in doing so the bard gives us what are perhaps the most memorable characters in all of English literature.
Fate is a supernatural force that will rearrange the timing of events beyond the control of anyone to lead to a particular outcome. Some people believe that it is fate that determines our destiny, others believe that it is determined by ones self. In Romeo and Juliet by William Shakespeare, fate is a very prevalent theme that has a mass effect on the outcomes of the play. Fate is foreshadowed through the characters consistently throughout the play showing the reader that destiny is not in the hands of the character, but instead in the hands of fate. The timing of certain actions in the play will impact the results of said actions hence showing fates prevalence. Fate is present when Romeo meets the nameless servant. It is
Shakespeare, William. The Three-Text Hamlet. Eds. Paul Bertram and Bernice Kliman. New York: AMS Press, 1991.
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
At the very outset of the play, readers are presented with the power-hungry, self-loathing Duke of Gloucester, defined by his thirst for vengeance and power and by his uncanny ability to manipulate the minds of the people around him. Richard appeals to the audience’s sympathies in his self-deprecating description, when he declares that he is deformed, unfinished, and so hideous and unfashionable that dogs bark at him as he passes by. The imagery he utilizes throughout the opening soliloquy also evokes a feeling of opposition and juxtaposition which speaks to the duality of his nature.The juxtapositions he employs are more than rhetorical devices, as ...
The task which Shakespeare undertook was to mold the hateful constitution of Richard's Moral; character. Richard had to contend with the prejudices arising from his bodily deformity which was considered an indication of the depravity and wickedness of his nature. Richard's ambitious nature, his elastic intellect, and his want of faith in goodness conspire to produce his tendency to despise and degrade every surrounding being and object, even as his own person. He is never sincere except when he is about to commit a murder.
According to many, Shakespeare intentionally portrays Richard III in ways that would have the world hail him as the ultimate Machiavel. This build up only serves to further the dramatic irony when Richard falls from his throne. The nature of Richard's character is key to discovering the commentary Shakespeare is delivering on the nature of tyrants. By setting up Richard to be seen as the ultimate Machiavel, only to have him utterly destroyed, Shakespeare makes a dramatic commentary on the frailty of tyranny and such men as would aspire to tyrannical rule.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
He is happy being a drunkard and someone who indulges what he wants. But he also realizes that it is not the type of life that a prince, or a king, should associate himself with, which leads him to his pleading—another reason the scene is prophetic. He pleads with Henry about his morality, much like he will do later in the play and in Henry IV: Part II. Though the play extempore is supposed to prepare Henry for his encounter with his father. Falstaff realizes it may be a good time to practice the inevitable encounter that he will have with Hal once he becomes king. This argument can be further developed when one realizes that it was Falstaff that called for the play extempore, not Hal. Falstaff knew he wanted a trial run before Hal’s kingship, so he gave himself one. However, Hal’s only reaction to Falstaff’s final speech is his line, “I do, I will” (2.4. 465). Some may take this as his answer to Falstaff that he will pardon him, and continue to be his friend. But the argument could be made that Hal is saying that line more to himself than to Falstaff. He is saying that he will do what’s necessary to be a good king. That he does have what it takes to leave a life he enjoys for a life of
Williams questions whether desire is advantageous for humanity. Desire for Blanche was inexplicitly linked to a metaphorical death in the beginning of the play. Her sexual desire led to her banishment from Laurel, embodied by the streetcar named de...
In 'A Streetcar Named Desire' we focus on three main characters. One of these characters is a lady called Blanche. As the play progresses, we gradually get to know more about Blanche and the type of person she really is in contrast to the type of person that she would like everybody else to think she is. Using four main mediums, symbolism and imagery, Blanche's action when by herself, Blanche's past and her dialogue with others such as Mitch, Stanley and the paperboy, we can draw a number of conclusions about Blanche until the end of Scene Five. Using the fore mentioned mediums we can deter that Blanche is deceptive, egotistical and seductive.
6. Hallett, Charles A. and Elaine S. The Revenger's Madness. Lincoln, NB: University of Nebraska Press. 1980.
In Romeo and Juliet, a play by Shakespeare, the characters are subject to fate and destiny and hence, have no control, whatsoever, over their lives. Shakespeare repeatedly refers to fate, the idea of a predetermined future or a hidden power beyond anyone’s control through various techniques. There is a sense of inexorable doom throughout the whole play which is made evident through the characters’ repetitive acknowledgement of destiny, as well as the constant foreshadowing and coincidences that take place. Romeo and Juliet have their entire lives played out according to fate and destiny which is obvious through the many references to their predestined future.