Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The complex character of richard ii
The complex character of richard ii
Essays on richard the iii
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The complex character of richard ii
Why is Garden Scene included in Shakespeare’s Richard II? What does it contribute to the overall flow and development of the play? The Garden Scene (Act III, Scene IV) is an important and pivotal moment, providing plot update, allegory, exposition, and character contrasts.
The Garden Scene is important for several reasons, firstly, it occurs between two scenes in which Richard, Bolingbroke, and others are present, but between which some time has passed. This implies a costume change, and this little scene provides just such an opportunity. But this is far from the full measure of the scene's worth. In addition to its practical necessity, it also provides a much-needed respite from the increasingly mounting tension of the play; we are allowed to dally for a moment in the royal gardens before being thrust back into the action. We observe, for the better part of the scene, two humble gardeners, welcome company after three acts of nothing but kings and queens, lords and ladies, dukes and duchesses; particulary for any groundlings watching the play back in 1597, this was a pause in which to reflect and relate.
The gardeners in the scene provide not only menial services such as binding up the royal "apricocks," but are in fact far more valuable to the audience in their roles of, as it were, allegorical troubadours, offering a colorful and effective update to the plot thus far. This is made all the more delightful in that such high-flown metaphorical speech is unexpected; the queen has already announced to her ladies in waiting that the two men are sure to "talk of state, for everyone doth so/Against a change," (27-28) but our expectation, if we are not familiar with the play, is to hear some low, prosaic talk of politics...
... middle of paper ...
...Nature was so much more a facet of the lives of English men and women 400 years ago, it held a sense of wholeness and order. Shakespeare often linked the violation of order within the realm of kings and kingdoms with a congruent dissolution of order in nature. In the Garden Scene, while no horses turn and eat one another, no hurricanoes blow, yet the basic concept of an interconnectedness between mankind and nature is deftly and effectively utilized.
The Garden Scene is Shakespeare at his metaphorical best, a deceptively simple little scene that yields so much more than simply an opportunity for a costume change. It provides perspective on the cyclical nature of the machinations of man.
Works Cited:
Shakespeare, William. The Tragedy of King Richard The Second. William Shakespeare: The Complete Works. Ed. Alfred Harbage. Baltimore: Penguin Books, 1969.
Composers throughout various zeitgeists are linked by different representations of universal human concerns, and their texts simultaneously embody certain values and agendas individual to themselves. An exploration of Shakespeare’s King Richard III (1592) and Al Pacino’s Looking for Richard (1996) allows for a greater understanding of the composer’s respective contexts, along with their intended agendas, through the lens of their own societal values and concerns. The manipulation of Richard III’s persona, whether by authorial adaptation of historical sources related to his character, or through the differing views of Richards motives, are universal concepts, that when studied in relation to the differing time periods, accentuates the context and our understanding of recurrent aspects of the human experience.
... middle of paper ... ... This resonates with the dramatic irony of Richard’s depiction of “Christian prince” with “two props of virtue” in RIII, demonstrating the common connection of duplicity to the environment. Evidently, the play itself manipulates the audience’s perception of reality as it presents a historical recount designed to solidify the ruling monarch, and condemn Richard.
Toy story is a heartwarming tale about a Cowboy Doll, Woody, who is Andy’s favorite toy. It is until Andy’s gets the newest toy Buzz Lightyear that Woody starts getting jealous. Woody takes matters into his own hands by trying to get rid of Buzz. His plan goes downhill, and he ends up falling out of Andy’s car with buzz. To win back his friends, Woody decides to go and save Buzz. Woody shows bravery throughout the movie and proves what toys are really made of. In Toy Story, Woody completes his hero journey when he separates from the safety Andy’s House, is initiated into to reunite with Andy, and returns home to Andy and the other toys as an equal.
Shakespeare, William. The Tragedy of Hamlet. ca. 1600-1601. Ed. Edward Hubler. A Signet Classic. New York: Penguin Publishers,1963.
Ehud Olmert, a former prime minister of Israel, was motivated to try and make peace among the Israelis and Arabs. Other leaders of Israel used violence to try and resolve the conflict but it only made things worse. Olmert wanted to use peace instead of violence to try and end the Arab-Israeli conflict. His efforts to achieve peace affected the Arab-Israeli conflictbut without long term results. Olmert has worked as the former prime minister of Jerusalem, Deputy Premier, Finance Minister, and Mayor of Jerusalem, giving him many years of experience and knowledge regarding world affairs like the Arab-Israeli conflict.
Fosha’s development of the affective model of change began with the observation that affect has enormous transformative power. Unlike other agents of change that are often slow and cumulative, affect can result in intense change very rapidly. The primary goal of the affective model of change is to identify, make sense of, and utilize its power in the context of a therapeutic relationship. This relational feature of the affective model of change draws heavily from literature on attachment, and the notion that our early attachment styles pervade our way of relating to the world as adults. Fosha argues that by synergistically linking emotion and attachment, the transformative power of affect can be harnessed in the relational process of psychotherapy and utilized in a manner that results in lasting therapeutic change.
In conclusion, in A Midsummer Night’s Dream, Shakespeare effectively uses the motifs of the seasons, the moon, and dreams to show that love, irrationality, and disobedience directly cause chaos. By calling to mind the seasons in unnatural order, describing the moon behaving strangely, and discussing the dualistic, irrational nature of dreams, Shakespeare effectively evokes a sense of chaos and disorder. Linking each of these motifs to the themes of love, irrationality, and disobedience allows Shakespeare to illustrate the disarray that is bound to result from any romance.
Owen then flashes forward in time describing how the death of the soldier still haunts his dreams; “In all my dreams, before my helpless sight, He plunges at me, guttering, choking, drowning.” (Owen 696). He witnessed a man die before him, there wasn’t anything he could do to help him, and it still haunts the speaker. He describes how he saw “the white eyes writhing in his face,” (...
Written during a time of peace immediately following the conclusion of the War of the Roses between the Yorks and the Lancasters, William Shakespeare’s play Richard III showcases a multi-faceted master of linguistic eloquence, Richard, Duke of Gloucester, a character who simultaneously manages to be droll, revolting, deadly, yet fascinating. Richard's villainy works in a keen, detestable manner, manifesting itself in his specific use or, rather, abuse of rhetoric. He spends a substantial amount of time directly interacting and therefore breaking the fourth wall and orating to the audience in order to forge a relationship with them, to make members not only his confidants of murderous intentions, but also his accomplices and powerless, unwilling cohorts to his wrongdoings. Through the reader’s exploration of stylistic and rhetorical stratagem in the opening and final soliloquies delivered by Richard, readers are able to identify numerous devices which provide for a dramatic effect that make evident the psychological deterioration and progression of Richard as a character and villain.
The Derek Jacobi production of Richard II provides its own answers to many of the ambiguities posed by the text alone. Richard is portrayed as an ineffective ruler ripe for overthrow, and Bullingbrook as a more capable man boosted to power by the scheming of the Machiavellian Northumberland. Many other interpretations are valid -- indeed, some of this production's choices were made easier by judicious cuts in the script -- but this production provides an entertaining, reasonable, and self-consistent interpretation of the welter of events surrounding the deposition of a king. And, in so doing, the production proves the almost limitless variety of theater, particularly of Shakespeare.
Billy Thompson and Sam Westfield were similar in many ways. Since a young age they both has excelled at sports and both loved more then anything, the sport of football. While growing up, the boys did not know each other and probably thought they would never have too. But all of that changed with the diagnosis.
Among the most common subjects of rap and hip-hop is violence and misogyny. They emphasize these two as inevitable regularities of the life lived in the streets. Their music reflects this fact by promoting violence and misogyny, which poses adverse influences on not only children and teenagers in the ghettos and urban cities but also other people affected by them.
William Shakespeare often examines the personal transformation of characters in his works. His frequent illustrations of changing players most likely suggests that he is a true believer in the idea of people being able to emotionally grow. Moreso, the author essentially endorses the thought of developing humanity as a living being. Parallel to King Richard in Richard II, he illustrates many characters throughout his works whom undergo similar personal growth. Oftentimes these personal changes occur when a character suffers great loss in life. In this particular play these changes give the readers a chance to develop a bit of fondness in the once ignorant king. Most readers would normally accept positive changes within the mind and soul of characters. In Richard II, Shakespeare depicts the personal stages of King Richard. Ultimately, Richard is illustrated as one who finally embraces humanity, and, in turn, affects the readers’ final response to the ever-changed king in a positive way.
Richard, the main character of the Shakespeare’s play, Richard III is portrayed as socially destructive and politically over-ambitious. His destructive potential is depicted by the way he relates with the other protagonists in the play and also by what he confesses as his intentions.
“Then one day, for no reason he could give, though the reason felt familiar, he stopped climbing up the air shaft to peek at Helen, and he was honest in the store ” (242). Frank used to be the robber, the rapist and the liar. With all the experiences he has been through, Frank successfully redeemed himself through the help of Morris’ example and his lessons that he gave him. He has become the person he wants to be. He has become like Morris.