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Essays about masks
Essays about masks
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Rosalind and the Masks
In this essay I would like to focus on Rosalind's - or rather Ganymede's - preoccupation with the outward show of things. Whether this is a result of her cross-dressing, the reason for the same, or the playwright's way of revealing his presence is not as yet clear to me, but Rosalind's constant insistence on the truth of masks and on the other hand her readiness to doubt this same truth fascinates me.
When she decides to dress up as a boy, Rosalind seems to think a mannish outside sufficient to convince the world at large (I.iii.111-118). She is "more than common tall" and therefore all she needs is a "gallant curtle-axe", a "boar spear" and a "swashing and a martial outside" to hide her feminine anxiousness. Taking it for granted that noone will have the hunch to look beyond her male costume, she reasons that since cowardly men are able to hide these feminine qualities, she should be able to pass off as a man, simply by behaving mannishly.
Being so totally dependent on her own disguise not being found out, it is funny how she proceeds to doubt anyone who does not put on an outward show fitting to their claims to feeling. The first to be put on the stand in this fashion is Orlando. As Ganymede Rosalind refuses to accept Orlando's claim to being the desperate author of the love-verses (s)he has found hanging on the trees on the grounds that he has no visible marks of love upon him.
A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not (...) Then your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything about you demonstrating careless desolation. (III.ii.363-371)
He is, in other words, not exactly the picture of the despairing suitor. Neither does Jaques measure up to Rosalind's expectations of the melancholy traveller. She greets him with a "they say you are" (IV.i.3), and sends him off with the order of:
Look you lisp, and wear strange suits; disable all the benefits of your own country; be out of love with your nativity, and almost chide God for making that countenance you are; or I will scarce think you have swam in a gondola.
In William Shakespeare’s Romeo and Juliet, Romeo’s impulsiveness contributes to the tragedy of the play. There is no doubt that Romeo rushes into love throughout the play. One example of this is when he falls in love with Rosaline. Although Rosaline is not a major role in the play, it shows the sorrow and uncertainty Romeo goes through after not being loved back. Marilyn Williamson said “During the time in which he was infatuated with Rosaline, he was … withdrawn into darkness” (6). The fact that Rosaline never shares the same feelings with Romeo, shows how quickly Romeo is to fall in love. “Out of her favor, where I am in love” (Rom. 1.1.158). Ironically, Romeo falls in love with Juliet during his plan to get closer to Rosaline. He is at a Capulet party when he first sees Juliet and
Deception is present in Tennessee Williams’s drama ‘A Streetcar Named Desire’, William Shakespeare’s Tragedy ‘Othello’ and L. P. Hartley’s novel ‘The Go-Between’; the writers choose to use characterisation to explore the theme in depth. Often the protagonists of each text are the primary offenders of deceit, though some supporting characters mislead as well; although Iago is the antagonist of ‘Othello’, he is incomparably the most deceitful character in the entire play. Similarly, Williams uses Blanche to develop the plot by misleading the other characters and even herself at times, though arguably, unlike Iago, Blanche is presented as a character who lacks the motivation to hurt anyone. Conversely Leo, although the protagonist and narrator of the novel, is not the most deceitful character – Ted Burgess and Marian Maudsley not only coerce him into the deceit, but they themselves are presented as masters of the game they play, however, this essay will focus on Leo as he is a unique symbol of deceit; he is unaware of the consequences of his actions.
We have made thee neither of heaven nor of earth, neither mortal nor immortal, so that with freedom of choice... thou mayest fashion thyself in whatever shape thou shalt prefer. (Mirandola 225)
`Plays and Poetry by early modern women are primarily concerned with negotiating a position from which women could speak. A concern for ideas of gender, language and silence is, therefore, central, though its expression is sometimes open, sometimes covert.' Discuss with reference to Aemilia Lanyer and / or Elizabeth Cary.
As the feast begins, Romeo and his friends stand outside in their masks, contemplating how they are to get in because they are Montagues. They make their way in and Juliet catches Romeo's eye. Any thoughts of Rosaline completely clear his m i...
...ters. Yet, this is not all that she does. She also refuses to listen to the opinion of the men of the house. She is a very strong woman and argues with them to make sure her opinion is heard. She may play a fool, but she also plays a fool that is opinionated and is not afraid to argue with the men. This is not something that was common in the 17th century. During this time, men were believed to know all. Women were meant to listen and follow. Marianne plays the subservient daughter. She is willing to marry a man that she does not want to marry simply because her father demands it. Yet, she plots with her maid Dorine to help her get out of the situation. This is something that does not follow gender norms. A good daughter of the time would listen to her father religiously. Every woman in this play defies gender norms, even if some of they do it in a very minor way.
... by cloning (Therapeutic 104). Be it a natural home birth, an abortion, or creating a clone, it is the choice of and only of the people involved. No one else should be given the right force another human being into having a kid or stopping them if it’s what they so choose, no matter the manner of it.
In order for the American ruling class to impose its deeply reactionary agenda of austerity and imperialist expansion, it is dispensing with democracy and resorting to ever more repressive forms of rule.
However, we can safely conclude that his ‘love’ for Rosaline was only a passing infatuation as she pales to insignificance when he sets eyes on Juliet. The language he us...
At first glance, this transformation is a mere change of clothes and the addition of weapons, but it goes much deeper. To Rosalind, the taking on of a man’s appearance requires certain things. She believes that while dressed as a man, she cannot bring shame to the image of men. A good example of this is in Act 2, Scene 4, where she says, "I could find in my heart to disgrace my man’s apparel and to cry like a woman; but I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat. (ll. 4-7). This is not the only time she mentions a doublet and hose. It seems almost that the doublet and hose are the actual source of strength for a man, as in the next example when Rosalind is begging Celia for an answer, saying, "Good my complexion! Dost thou think, / though I am caparisoned like a man, I have a Doublet and hose in my disposition?
Illusion’s purpose is questioned in this fact-based world we call reality. Blanche, Stella’s sister, is used to represent illusion. Her whole life, from her diamond tiara made of rhinestones, to her spurious façade, is literally and metaphorically an illusion. The concept of illusions is further developed through the light motif in the play, with Blanche displaying “moth” like characteristics, avoiding “strong light”(pg.3) and “naked light bulb[s]”(pg.54). The light motif also represents a time of innocence, before Blanche’s husband’s death, when there was “blinding light” in her life, but after her husbands suicide, there hasn’t been“ any light that's stronger than this--kitchen—candle” (pg.103). Stanley is an advocate for reality, as shown by his constant struggle to uncover Blanches illusions about her past. Williams suggests that illusion’s serve as an essential part of society. Whether it was Blanches husband’s suicide or Stella’s husband’s participation in rape, illusions are shown throughout the play to help people deal with harsh realities. They help ‘victims’ of reality see “what ought to be truth”(pg.127) through illusions, alleviating unwanted pain.
Illusion vs. reality has been a major running theme in all the plays we have read in class. By interpretation, the idea of illusion is a way to build an alternate fantasy world for oneself where he/she can escape from reality. From all the characters analyzed in class, Blanche from A Streetcar Named Desire would definitely be the one character who is so steadfast on illusion that she lets it shape her life as she believes it is her only way towards a happier life. As seen in the above quote, Blanche chooses to dwell in illusion, for it is her primary defense against the troubles in her life. Illusion has had a freeing enchantment that protects her from the tragedies she has had to endure. However, Blanche is not the only character with this fixation on illusion. In this paper, I will be analyzing other characters like Nora from A Doll’s House, Eliza from Pygmalion and Mrs. Hale from Trifles, who just like Blanche have also succumbed to the world of illusion as opposed to reality.
In deciding whether to institute criminal proceedings, a prosecutor must balance two competing responsibilities. He must vigorously prosecute individuals reasonably suspected of significant criminal activity, but must avoid harassing or disturbing innocent citizens. In weighing these fac-tors, he is obligated to look beyond the immediate problem of winning a case and consider in-stead the fair and efficient administration of criminal justice.
Two characters, Celia and Rosalind are loyal to each other throughout the play, which is apparent through the decisions Celia makes. In this quotation, Celia defies her father to stay loyal to Rosalind.
The complexness of the criminal justice system is without doubt caused by the complexness of crime. Crime is outlined as “Conduct in violation of the criminal laws of a state, the federal, or an area jurisdiction, that there's no wrongfully acceptable justification or excuse.”. although several classifications of kinds of crime exist, four classes total up the kinds of crimes committed by most offenders; violent crime, social group, white collar crime and victimless crimes.