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Comparison between the crucible play and the crucible movie
Literature review about father daughter relationships
Comparison between the crucible play and the crucible movie
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It’s quite suspicious how the two plays Much Ado About Nothing by William Shakespeare and The Crucible by Arthur Miller both feature a father-daughter, father-niece, and cousin-niece relationship. In this essay, the relationships between Hero, Beatrice, Leonato and Betty, Abby, and Parris will be thoroughly examined. The differences between Hero, Beatrice, Leonato (from Much Ado About Nothing) and Betty, Abby, and Parris’ (from The Crucible) relationships are striking, and they merit rigorous examination.
To demonstrate one of the different relationships between the two books, let’s start off by discussing the father-daughter relationship featured in both books. Hero and Leonato, Betty and Parris’ father-daughter relationship is diverse compared
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Hero and Beatrice’s cousin-niece relationship is mismatched to Betty and Abby’s. Hero and Beatrice are not only cousins, but they are best friends as well. “O, on my soul, my cousin is belied!. . .No, truly not, although until last night I have this twelvemonth been her bedfellow. . .Sweet Hero, she is wronged, she is slandered, she is undone.” (Shakespeare, IV, i). In this scene, Beatrice is defending her wronged cousin, who was accused of cheating on her fiance the night before their wedding. Hero and Beatrice were “bedfellows” or roommates before the night of her wedding. Beatrice later on goes to Benedick and asks him to murder Hero’s then ex fiance. Meanwhile, from what is shown in the book, Abby shows mixed feelings towards Betty; one second she’s kind, the next she’s threatening and yelling at her. “Now, Betty, dear, wake up now. It’s Abigail.” (Miller, 19). “Shut it! Now shut it!” (Miller, 19). The first quote hails from when Betty was unresponsive in the first act. Abby was simply trying to wake her, which brings me to the next quote. Betty awakes and quickly rushes to the window, screaming for her mother. Abby tries to get her to calm down, but Betty yells out that Abby drank blood for John Proctor, which lead to Abby smashing Betty across the face and yelling at
Phaedra, a tragedy written by Jean Racine, tells the tale of forbidden relationships and the consequences of following one’s passion rather than abiding by the neoclassical virtue of reason. The comedy, Tartuffe, written by Molière also displays a set of forbidden relationships and the consequences of pursuing passion. In each play, there exists a father/son relationship that is either saved or broken by the actions of the characters in the play. While the father/son relationships in Phaedra and Tartuffe are similar in that each son battles with forbidden relationships that they want to exist and ones that they do not, the sets of relationships are more different in the following: one son attempts to preserve his father’s pride, the father
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.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
They had been to the town before, and this time Claudio confessed his love for the governor’s daughter, Hero. Because Leonato is so fond of Claudio, the wedding is set to be a few days away. This gives Don John, Claudio’s bastard brother, a chance to show his true hatred for Claudio. He comes up with a scheme to make Claudio think that Hero is cheating by dressing Margaret in her clothing and perching her near the window with another man. When Claudio sees this, he says that he will humiliate Hero instead of marrying her.
In the time of William Shakespeare where courtship and romance were often overshadowed by the need to marry for social betterment and to ensure inheritance, emerges a couple from Much Ado About Nothing, Hero and Claudio, who must not only grow as a couple, who faces deception and slander, but as individuals. Out of the couple, Claudio, a brave soldier respected by some of the highest ranked men during his time, Prince Don Pedro and the Governor of Messina, Leonato, has the most growing to do. Throughout the play, Claudio’s transformation from an immature, love-struck boy who believes gossip and allows himself to easily be manipulated is seen when he blossoms into a mature young man who admits to his mistakes and actually has the capacity to love the girl he has longed for.
At the start of the play Hero is presented as a typical woman of the time, modest and demure – she says little. In fact, Shakespeare’s first words describing Hero, ‘Is she not a modest young lady’ announce her essential qualities of modesty and decorum. In this period, these were vital qualities to have in a wife and Hero possessed them, unlike Beatrice. By contrast, Shakespeare portrays Beatrice as an untypical woman, being outspoken, independent, witty and unconventional – she is always participating in the conversation even with the men (especially Benedick), which Hero never does.
Fineman, Joel. 1980. 'Fratricide and Cuckoldry: Shakespeare's Doubles.' In Representing Shakespeare: New Psychoanalytic Essays, edited by Coppelia Kahn and Murray M. Schwarz. Baltimore and London: The Johns Hopkins Press, 70-109.
The common thread of jealousy ties together the main plots in Much Ado About Nothing, Othello, and The Winter's Tale. In each of these plays, the main conflict is centered around some form of jealousy. While jealousy is the mutual, most prominent cause for turmoil in these plays, its effects on the characters, and ultimately the plots, is different in each case. This difference has much to do with the way in which the concept of jealousy is woven into each play, and what it is intended to accomplish.
Emilia, one of only three female characters in Shakespeare’s Othello, plays a vital role both thematically and in the advancement of the play’s plot. Although her blind loyalty to her husband turns the wheels of this tragedy, it is not a static quality throughout it. When examining the gender roles in the world of this play, the change in Emilia’s allegiances, which determine her actions, reveals the divergence between duty and integrity for women. Throughout most of the play, Emilia is loyal to a fault. She remains subservient to Iago until her duty to him causes her to betray the one she has to her friend and mistress, Desdemona. After becoming cognizant of her involvement in Iago’s villainy, Emilia abandons all loyalty she previously held to patriarchal forces and is motivated exclusively by morality and dedication to Desdemona.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
In Shakespeare’s Much Ado about Nothing, there are the usual characters that show up in most of Shakespeare’s pieces. For instance, the characters Hero and Claudio could easily be compared to Romeo and Juliet. Both Hero and Juliet are innocent, quiet, and beautiful young women who fall in love instantly without conversing with the other person. Likewise, Claudio and Romeo decide to marry these women within twenty-four hours. Beatrice and Benedick are both witty characters; neither ever lets the other say anything without countering it with a pun or criticism. Much ado about Nothing has focused on the two love stories between Benedick-Beatrice and Claudio-Hero. The Claudio- Hero and the Benedick- Beatrice love stories are interwoven in Much Ado about Nothing through a series of parallels and contrasts in characterization, in dialogue, and in plot structure.
When many people decided to sit down and read a book or a play it is because the title or summary entices them. As the story comes to an end it is decided whether or not the person related to or understood the point of the literature. Great authors and playwrights know this and set in place concepts. Many different concepts, to catch different audiences attention and to deepen the understanding of the literature. In order to understand Shakespeare’s play Othello, it is necessary to examine the emotions of jealousy, manipulation, being consumed by something, and gender.
William Shakespeare has provided some of the most brilliant plays to ever be performed on the stage. He is also the author of numerous sonnets and poems, but he is best known for his plays such as Hamlet, Macbeth, A Midsummer Night's Dream, and Romeo and Juliet. In this essay I would like to discuss the play and movie, "Romeo and Juliet", and also the movie, Shakespeare in Love. The play Romeo and Juliet by William Shakespeare is set in the fictional city of Verona. Within the city lives two families, the Capulets and the Montegues, who have been feuding for generations.
In my readings of Hamlet, sexism was a immense element in the story. It is not fairly unambiguous where the incest comes in and who is involved, but the unorthodox relationships that have taken place shows how things were during the Elizabethan Age, or were they? My goal in this paper is to research the gender roles between the males and females in the story and to prove how women were treated during these times, and to determine who was involved in incest and sexism. The characters in focus will be Hamlet, Prince of Denmark, and son of the deceased King Hamlet; Polonius, counselor to Claudius; Laertes, Polonius’ son who has returned home due to King Hamlet’s death; Gertrude, Hamlet’s mother and Queen of Denmark; and Ophelia, daughter of Polonius and the sister of Laertes, also Hamlet’s girlfriend.
Human Relationships Between The Central Characters in William Shakespeare's The Tempest. In this essay I intend to explore the ways that William Shakespeare has presented the relationships between the main characters within his play “The Tempest”. I shall investigate Ferdinand and Miranda’s relationship, the father/daughter bond between Miranda and Prospero, and Caliban’s lust after Miranda. Shakespeare was intending to represent several different groups of people in society through his plays, and “The Tempest” was no exception to the rule.