Observations on As You Like It
As You Like It will be for many of you a rather difficult play to appreciate and interpret simply on the basis of a reading. The reasons for this are not difficult to ascertain. The play is, as I have observed, a pastoral comedy, that is, a comedy which involves a traditional literary style of moving sophisticated urban courtiers out into the countryside, where they have to deal with life in a very different manner from that of the aristocratic court. This play, like others in the Pastoral tradition, freely departs from naturalism, and in As You Like It (certainly by comparison with the History plays) there is little attempt to maintain any consistently naturalistic style.
This can create problems for readers unfamiliar with the conventions of pastoral, especially those who find it just too artificial and incredible to grasp imaginatively. After all, how are we to understand the unmotivated family hatreds which launch the action? We are simply not given any sufficiently detailed look at why Oliver hates Orlando (he himself does not understand the reason) or why Duke Frederick hates Duke Senior and turns on Rosalind so suddenly or, what is most surprising of all, why the nasty people whose animosities have given rise to the plot so suddenly and so conveniently convert and become nice people just in time to wind the plot up happily under the supervision of the goddess Hymen, the Greek deity of marriage, who arrives as an unexpected but welcome guest.
But these features of the plot which we might find unconvincing if we demand naturalism (that is, if we insist on treating the play as a "Hence" story) are little more than standard plot devices in "And then" stories, common in a genre like pastoral, which makes no claims to naturalistic motivation. Such plotting serves to launch and to conclude the comic confusion. The main point of the play here, after all, is not the working out of a carefully constructed plot, but rather the various encounters which take place in the Forest of Ardenne. In fact, the structure of the play is less a carefully complex and unfolding plot than a series of conversations between characters who happen to run into each other amid the trees.
This lesson will examine the impact of Harper Lee on Truman Capote 's true-crime novel, 'In Cold Blood. ' Lee helped her childhood friend with much of the research for the book, although she was not credited when the book was published.
To fully understand the purpose of In Cold Blood, one must explore Capote's strategy in writing such a tale. In his "In Cold Blood," Capote raises the possibility of rational order without ever fully endorsing it, often revealing that random and accidental events shape the history of the crime. Because of this, we as readers cannot pinpoint one exact reason for the incidents that occurred at the Clutter house that fateful night, and are forced to sympathize with two opposing characters within the story, Perry Smith and Alvin Dewey.
Truman Capote showcases his very distinct style of writing in his true crime novel, In Cold Blood. Capote intentionally frames ruthless murderer Perry Smith as a relatable, well-intentioned human throughout the whole novel, and employs various rhetorical devices to show us that Perry is not just a stone cold killer. Specifically, Capote uses diction comprised of complex words, interviews conducted by Capote personally in which he interacted with the suspects and their loved ones, and sentence structure that came off as very to the point, in order to illustrate Perry’s dynamic and unique personality, opposed to the one dimensional heartless murderer many made him out to be.
Truman Capote put-to-words a captivating tale of two monsters who committed four murders in cold blood. However, despite their atrocities, Capote still managed to sway his readers into a mood of compassion. Although, his tone may have transformed several times throughout the book, his overall purpose never altered.
One cool, November night, six lives were ended with actions of two deranged psychopaths, resulting in many groups of people being deeply hurt. In Truman Capote’s nonfiction book, In Cold Blood, a loving family of four, the Clutters is brutally murdered by two outcasts of society, Perry Smith and Dick Hitchcock. Capote takes readers through the process of not only the murder, but also the capture, trial, and eventually the execution of both murders. In that process, readers are given insight into both the minds of the killers, and the effects this cold-blooded killing, creating feelings of sympathy and remorse. These killings help to prove how destructive and traumatic an event of such magnitude can be to a great number of people, rather than
In Cold Blood should be kept on high school required reading lists because it presents readers with a myriad of new information, encourages them to analyze the context of an author 's opinions and experiences, and challenges them to identify and discuss themes from the book. Each of these skills is useful for students to master before entering college, as they will be frequently required to absorb, examine, and draw conclusions from various passages. By reading In Cold Blood in high school, students will be well equipped to enter college and life beyond college as mature analysts of the
On November 15, 1959, four members of the Clutter family were murdered in their own house in the small town of Holcomb, Kansas in the middle of the night by two strangers looking for money that was never there. The story of the murder and its consequences has been told in the book In Cold Blood by Truman Capote as well as the movie In Cold Blood and the movie Capote. All three pieces tell the story about the family and the murderers, and all three pieces are interesting and entertaining, but it depends on every person 's interest to decide which of the three is better.
Capote strays back and forth from present day Holcomb in 1959, to the day-to-day life on the road in Perry and Dicks point of view. The way Capote goes back and forth in his novel give an insight into the lives of not only the Clutter family but the true behind the scenes of the murders Perry and Dick, who in themselves have issues of abandonment and mental illness in their pasts. The novel is nonfictional, but “In Cold Blood 's” credibility is not what it is said to be. The famed author “didn’t tell the truth,” KBI detective Harold Nye told George Plimpton (Plimpton). Thus his truthful non-fiction story doesn’t hold a hundred percent truth. With Capote 's manipulation, he helps himself create a tantalizing story out of a tragedy that people who were affected must watch him profit from. Capote himself admits to George Plimpton who is writing “A Story About a nonfiction Novel,” when he asks “if he is particularly interested in this crime?” Capote replies “No, not really;” therefore, Capote never really cared for Perry and Dick and whether they lived or died, he was more interested in finding out the story so he could make his compelling
This play shows the importance of the staging, gestures, and props making the atmosphere of a play. Without the development of these things through directions from the author, the whole point of the play will be missed. The dialog in this play only complements the unspoken. Words definitely do not tell the whole story.
Despite Capote’s difficulty to mesh, the book was nonetheless an immediate sensation. There are several reasons why In Cold Blood was successful. The meticulousness of Capote’s writing is demonstrated in the very first sentence, “The village of Holcom...
In 1966, Truman Capote published the novel In Cold Blood that pierced the boundaries of literary genres, as he narrated the events of the 1959 Clutter family massacre in the small town of Holcomb, Kansas and the quest that took place afterwards through the perspectives both the murderers and those looking for them. As Capote bends these genre normalities, he ventures with the killers and the detectives and describes the murderers’ lives in-depth to further characterize Dick Hickock and Perry Smith--their psychological states and the possible contributing factors to their undeniable personality disorders. The two killers are ultimately diagnosed by a mental health professional with mental illnesses rather than chronic personality disorders,
hetoric – ars bene dicendi – is, according to the antique definition, the art of speaking and writing well, adequate to the situation, proving morality and the desire to obtain an effect, an expression which can attract the general interest. According to W. Jens, it contains both the theory (ars rhetorica, the art of speaking), as well as the practice (ars oratoria, eloquence). Rhetoric created, as theory (rhetorica docens), a multitude of categories to produce (and analyse) some efficient texts.
The essentially healthy emotional intelligence of Rosalind and Orlando and their suitability for each other emerge from their separate encounters with Jaques (in some editions Jacques), the melancholy ex-courtier who is part of Duke Senior's troupe in the forest. Both Rosalind and Orlando take an instant dislike to Jaques (which is mutual). And in that dislike we are invited to see something vitally right about the two of them.
Shakespeare, William. As You Like It. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print.
In Shakespeare's As You Like It loyalty is dominant theme. Each character possesses either a loyalty or disloyalty towards another. These disloyalties and loyalties are most apparent in the relationships of Celia and Rosalind, Celia and Duke Fredrick, Orlando and Rosalind, Adam and Orlando, and Oliver and Orlando. In these relationships, a conflict of loyalties causes characters to change homes, jobs, identities and families.