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A winter's tale jealousy
Analysis of Shakespeare
Analysis of Shakespeare
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As Leontes makes his first appearance in Shakespeare's `The Winter's Tales', the reader is confronted by an aggressively insecure character. His conversation with the more relaxed Polixenes is illustrative of this. Polixenes, in his anxiety to leave, explains that he has overstayed his welcome;
`Besides, I have stay'd
To tire you royalty'
Polixenes' suggestion is clearly a polite one, a non-threatening exclamation of gratitude. However, in a representation of his competitive character, Leontes mis-comprehends this as a challenge;
`We are tougher, brother,
Tha you can put us to't'
The friendship that Camillo pointed out in Scene 1; `an affection which cannot choose but branch now', appears to have vanished in this confrontation. He identifies him and his people as `we', further increasing the competitive nature of this conversation. Polixenes timidly suggests; `No longer stay.' The tone of Leontes' reply does not expect any compromise; `One seve'night longer.' Despite this, Leontes remains insecure of his own authority over Polixenes. In fact, his behaviour during this particular episode shows Leontes as being a rather tactless figure. This is pointed out by his own wife, Hermione, who suggests that she could have done better in persuading him to stay;
`You, sir, charge him too coldly'
Hermione, however, also feels obliged to reassure her husband; `I love thee not a jar o' th' clock behind'. This reflects the rather tense nature of their marriage, and Leontes' behaviour during it. Hermione is the subject of Leontes' tactless behaviour later on in that scene;
`Hermione, my dearest, thou never spok'st to better purpose.'
Hermione responds, condemning his insult, telling him of the lack of praise sh...
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...sinister individual - a man taking pleasure in his own jealousy. Camillo responds loyally; `I could do this...' The sly nature of Leontes is accentuated in his final words before he leaves the scene;
`I will seem friendly, as thou hast advis'd me.'
This leaves the viewer with an unnerving tone to the rest of the act, a vision of the schemings of Leontes, as Camillo and Polixenes conclude the scene.
Throughout the first act, the viewer's opinion of Leontes has been corrupted. We have seen the demise of Leontes' sanity, a rise in a sinister attitude, culminating in his plot to kill Polixenes. The act has revealed an intensely paranoid figure, a poignantly insecure character, a man taking pleasure in his envy of Polixenes' relationship with his wife.
Bibliography:
Shakespeare's Language, Russel
Shakespeare's Life, Bussey
English Review, June 2002
All throughout the Roman comedy Cleostrata’s power over her husband Lysidamus and her ability to embarrass him is painfully obvious. In the beginning of Act II, when Cleostrata is going to visit Myrrhina her slave Pardalisca informs her that Lysidamus wants lunch ready for when he returns home. Cleostrata’s responded “I will not get things ready, and not a thing shall be cooked this day, either … I’ll punish him, the gallant – with hunger, thirst, hard words, hard treatment, - oh, I’ll punish him” (Casina, 150-155). Clearly, Cleostrata accurately illustrates the type of “unmastered creature” Marcus Porcius Cato
If we look at chapter three, Leonce comes home in the middle of the night, awakening his wife whom is fast asleep. He immediately beings to give her the details of his day. When she is unable to fully reply, because she is half asleep, he becomes upset. He states that she is the sole object of his existence and he is upset that she takes so little interest in his concerns. If she was indeed the sole object of his existence, he would have been more considerate than to awaken her in the middle of the night, because he wanted to talk.
Oakes, Elizabeth. A. "Polonius, the Man behind the Arras: A Jungian Study. " New Essays on Hamlet.
It is often said that characters who are in constant conflict are different in nature. Although this is often true, it does not apply to William Shakespeare’s Hamlet, as characters who are very similar to each other are also involved in constant conflict. While some may argue that Hamlet and Laertes have distinct differences, it is evident that there are noticeable similarities between them. These similarities are evident when looking at their deep love for Ophelia, their desire to leave Denmark, and their domineering attitude towards females throughout the play.
This paper contains 237 words of teacher’s comments. What one perceives is influenced by one’s environment. The setting and commentary surrounding events changes our perception of them. Any innocent gesture can be perceived in the wrong way with enough persuading from someone else. Even if someone has total faith in another person's innocence, they can be persuaded to doubt them through the twisting of events. Once just a small amount of doubt has been planted, it influences the way everything else is seen. This occurs throughout the play, Othello. In this play, Iago influences Othello's perception of events through speeches and lies, making him doubt Desdemona's fidelity. Iago uses his talent of manipulating events to exact his revenge on Othello. Iago's twisting of events in Othello's mind leads to the downfall of Othello as planned, but because he fails to twist Emilia's perception as well, he facilitates his own eventual downfall.
Othello avoids all irrelevancies and the action moves swiftly from the first scene to the denouement. We never get lost in a multiplicity of incidents or a multitude of characters. Our attention remains centered on the arch villainy of Iago and his plot to plant in Othello’s mind a corroding belief in his wife’s faithlessness. (viii)
So right at the outset the reader/viewer respects the lord chamberlain as a very fluent spokesman of the language, and respectful of his superior, the king. Later, in Polonius’ house, Laertes is taking leave of his sister, Ophelia, and, in the process, giving her conservative advice regarding her boyfriend, Hamlet.
Does Hamlet stand alone? Does this magnate of English literature hold any bond of fellowship with those around him, or does he forge through his quandaries of indecision, inaction and retribution in solitude? Though the young Dane interacts with Shakespeare's entire slate of characters, most of his discourse lies beneath a cloud of sarcasm, double meaning and contempt. As each member of Claudius' royal court offers their thickly veiled and highly motivated speech Hamlet retreats further and further into the muddled depths of his conflict-stricken mind. Death by a father, betrayal by a mother, scorn by a lover and abhorrence by an uncle leave the hero with no place to turn, perhaps creating a sense of isolation painful enough to push him towards the brink of madness.
Shakespeare’s Hamlet is arguably one of the best plays known to English literature. It presents the protagonist, Hamlet, and his increasingly complex path through self discovery. His character is of an abnormally complex nature, the likes of which not often found in plays, and many different theses have been put forward about Hamlet's dynamic disposition. One such thesis is that Hamlet is a young man with an identity crisis living in a world of conflicting values.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Although many arguments could take place over the blame of Othello’s fate, the one murderer no one doubts is jealousy. Although Othello’s insecurities and “blindness” along with one of the most duplicitous villains in all of literature definitely catalyze the deaths at the conclusion of the play, in the end Othello must suffer the consequences manipulated or not. Despite the number of uninteresting characters in the play, Othello, the Moor of Venice contains one of the most intricate characters in any of Shakespeare’s plays, and will be discussed and intensely argued forever.
Throughout William Shakespeare’s play, Hamlet, Hamlet’s behavior and actions cause readers to question his sanity. Hamlet’s character can be interpreted in many different ways. It could be said that he is indeed insane, or it can be disputed that he, as he made known, is simply putting on a good act. The complexity of knowing Hamlet’s true character derives from the fact that we, as readers, are unable to read Shakespeare’s or Hamlet’s minds. Therefore, judgments could be made solely by reading and interpreting his behavior and coming up with a satisfactory conclusion. Taking into consideration incidents such as Polonius’ murder and Hamlet’s contemplating suicide, it is natural for individuals who perform such acts to be categorized as crazy. Ignoring Hamlet’s actual actions, and paying keen attention to what altered his character, one can debate that Hamlet is not at all insane. It is important to consider the situations which triggered Hamlet’s different actions. By giving discreet thought to Hamlet’s position and what he endures, one will realize that he is not demented, but he is actually an angry, betrayed and emotionally devastated fatherless son.
Up until this point the kingdom of Denmark believed that old Hamlet had died of natural causes. As it was custom, prince Hamlet sought to avenge his father’s death. This leads Hamlet, the main character into a state of internal conflict as he agonises over what action and when to take it as to avenge his father’s death. Shakespeare’s play presents the reader with various forms of conflict which plague his characters. He explores these conflicts through the use of soliloquies, recurring motifs, structure and mirror plotting.
... middle of paper ... ... Through Hamlets obsession of revenge, he mistakenly murders the father of Ophelia and Laertes, thus creating another imbalance within the family. This proclamation of revenge is seen when Laertes states, And so I have a noble father lost,/A sister driven into desperate terms,/Whose worth, if praises may go back again, stood challenger on mount of all the age/
Rosenberg, Marvin. “Laertes: An Impulsive but Earnest Young Aristocrat.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: Univ. of Delaware P., 1992.