The Character of Helena in All's Well that Ends Well
Helena
There is an underlying ambiguity in Helena 's character. Spreading the illustration over the four most disputed moments in All's Well, the virginity repartee, the miraculous cure of the King, the accomplishment of conditions and the bed - trick, one can detect the ''different shades'' of in her character - honourable, passionate, discreet, audacious, romantic, rational, tenacious, forgiving ... She can be sampled out to be basically an idiosyncratic person with her good and bad, positioned within the ''clever wench'' tradition and the ''fulfilling of tasks'' folk tales ( W. W. Lawrence ) which necessitates that she should behave with a determination. The whole ambiguity in Helena ensues from unrealistic dramaturgy and realistic conception of women. Throughout the play, one sees Helena jostling ingenuousness with sexuality and at times there seems to be two Helenas, one who is conventionally tame and the other who is actively all out ... a love - sick Juliet that is ready at the end to expose her darling 's ill practices. One could compare Helena with Isabella in Measure for Measure, since the characters are engulfed by different circumstances that demand each of them to act differently. Isabella is a religious figure while Helena is only love-driven.
Helen ... virtue in action ?
All other characters contribute to the promotion of Helena as a virtuous character and though in Act. II Sc. v Bertram addresses her with ''here comes my clog'' he does not diminish her already cultivated uprightness which forgoes inherited wealth and nobility. The Countess is convinced that she has a noble virtue that her son cannot achieve through his valour in war. Her virtues were assigned to her by her father and by Heaven to whose intervention she ascribes all her ability to cure the King. Somehow, she is that ''semi-divine person or some type of new saint'' in fighting for what is genuine and lawful and personifies virtue in action. This Christ projection with which W. Knights endows her could have been further sustained by showing that it is rooted in what Lefaw says in Act II Sc. iii :-
They say miracles are past; and we have our philosophical persons to make modern and familiar, things supernatural and causeless. Hence it is that we make trifles of terrors, ensconcing ourselves into seeming knowledge when we should submit ourselves to an unknown fear.
Secondly, the imbecile wet nurse of Juliet plays an unsupportive parental role during Juliet’s misery of losing Romeo in ba...
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
“All experiences shone differently because a God glowed from them; all decisions and prospects concerning the different as well, for one had oracles and secret signs and believed in prophecy. ‘Truth’ was formerly experienced differently because the lunatic could be considered its mouthpiece”
Pasi, Marco. "Arthur Machen’s Panic Fears: Western Esotericism and the Irruption of Negative Epistemology." Aries 7 (2007): 63-68.
Infatuation causes Helena to lose all sense of dignity, as can be seen when in the woods, she desperately pleads with Demetrius to ?but treat me as your spaniel?. Here, Helena also becomes irrational, obsessed with pursuing Demetrius, though it is obvious that Demetrius is fixated on winning Hermia?s hand in marriage. Helena?s infatuation also causes her to see things from a skewed perspective, for she falsely believes that when she divulges Hermia?s plans for eloping with Lysander, Demetrius? love for Helena will rekindle. As the audience, we know that the most probable course of action for Demetrius upon hearing such news is to pursue Lysander and Hermia, or to report them to Theseus or Egeus. Clearly, infatuation has clouded Helena?s ability to think clearly, and she sees things in her own idealistic way.
"It was the secrets of heaven and earth that I desired to learn; and whether it was the outward substance of things or the inner spirit of nature and the mysterious soul of man that occupied me, still my inquiries were directed to the metaphysical, or in its highest sense, the physical secrets of the ...
Assessing The Feminist View That Conventional Malestream Theories Are Inadequate For An Understanding Of Women In Society
what is normal and usual; that it is not usual to be able to describe
The unknown has fascinated mankind for generations. It binds humans together, on a morally “higher” level. Yet, across continents and parted by oceans, each civilization has taken on its own interpretations of deities and monsters, but still, are bound together by the same thread of suspended disbelief to bring worship to the all-powerful forces working for or against them. Mysticism connects us, on a level of unexplainable and profound connections, chiefly by using its most powerful tool of all: storytelling.
The Ontological Argument for the Existence of God The ontological argument is an a priori argument. The arguments attempt to prove God's existence from the meaning of the word God. The ontological argument was introduced by Anselm of Canterbury in his book Proslogion. Anselm's classical argument was based on two principals and the two most involved in this is St Anselm of Canterbury as previously mentioned and Rene Descartes.
Outlining the Ontological Arguments and Their Success as Proofs of God's Existence. The ontological argument is a perfect example of a priori argument. For example, it uses logic to prove an initial definition to be. correct.
Portia and Helena demonstrate cleverness, love, and grace in their purest forms. Despite coming from different social classes and different plays, these two women could be easily seen as sisters on paper with their strong, self-determining attitudes. They know how to get the right husband without being too forward and unfair. Each demonstrates love in the most ideal form, as God would have it. Grace pours from their hearts into the lives of those around them that affect others in a positive and lasting manner making these two the ideal women in Shakespearean characters as well as in life.
During much of the play, Helena relentlessly chases Demetrius, giving him love no matter how many times he spurns her. While in pursuit of him in the woods, where he tells her that he will never reciprocate her feelings, she tells him, “I am your spaniel; and, Demetrius,/The more you beat me, I will fawn on you” (II.i.203-204). She is so desperate to win him over that she lowers her own status, calling herself his dog; no matter how many times he may abuse her, she will always adore him. Out of love, Helena is willing to swallow her pride to prove her devotion to him. More evidence of Helena’s blind love towards Demetrius can be found in her overlooking the flaws in Demetrius’ character. For example, he proves himself to be quite insensitive towards Helena: when they are in the woods, he says he will “leave [her] to the mercy of the wild beasts” (II.i.228) if she doesn’t stop following him. He also says to her, “…I am sick when I do look on thee” (II.i.212). Lastly, he threatens her, saying “…if thou follow me, do not believe/But I shall do thee mischief in the wood” (II.i.237). Helena acknowledges this aspect of his character, though choos...
Helena doesn’t believe that any of the two gentlemen is sincere and believes that both of them and Hermia are playing jokes on her.
In the play,Hermia and Helena are the main female protagonists and 2 of the four lovers. They have some similarities in their personalities as they are both girls that are headstrong people that want things to go their way and won’t give up until it happens. Even though it is inevitable that they share some common personality traits that are interchangeable between them,However, that is not true. While they both do some similar personalities,they actually have very different personalities.