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The Shy Girl
Ever since I can remember, I was naturally quiet and shy. I constantly repeated myself because people could not hear me the first time. Even then, I seldom made eye contact with others. When I entered high school, nothing changed.
Soon afterward, I disliked the way my classmates thought of me. If someone had to make an announcement in class, I was not chosen; my classmates believed I was not vocal enough. If someone threw a party, I was not invited because they thought "Shy girls" would not want to come. Most of my classmates attracted a great deal of attention. No one willingly associated with me.
Not only did my classmates see me as quiet and shy, but they made me start believing it, too. Ashamed, I wanted some way out. I wanted my words to stick with people. I wanted them to think, "Louisa said…." I tried participating in class more and sharing my opinions, but that did not help. Whenever I made a comment, one of two things happened: I did not get the credit for my comment, or no one took me seriously. I felt helpless.
The ninth grade production of The Tempest changed my life. My teacher, Mrs. Massand, gave me a part in the play and I no longer appeared quiet and shy. Although Mrs. Massand assigned the whole class a part in the play, she appointed me as, Stephano, the drunk, a major role. Her choice surprised me and my classmates. Stephano's character seemed so unlike mine; he was loud and silly. My first thought was, "How is a quiet girl like me going to play the part of a boisterous drunk?" Until now my classmates convinced me that I was simply quiet and shy. Now the play required me to show another side of myself.
We began the play by reading the text out loud and becoming comfortable with t...
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...t scene, I was marching around in a circle shouting, "Ban, ban, Ca-Caliban!" At the end of the performance, the audience was bursting with cheer. Then Mrs. Massand had us individually take a bow. When it was my turn to bow, the audience gave me the standing ovation. I was never more excited. As I exited the stage, almost every classmate stopped me to say, "Wow Louisa, you were the best!" At that moment I realized I could be loud, silly, and talented.
My ninth grade performance in The Tempest made my last years in high school a success; acting and reciting the words of Stephano made my growth in confidence possible. What I once thought was an everlasting label of shyness proved removable after all. My classmates saw another side to me, and I was glad that I was not labeled as a quiet and shy girl anymore. That year I came in like a lamb and went out like a lion.
Wright, Louis B. and Virginia A. LaMar. “The Engaging Qualities of Othello.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Introduction to The Tragedy of Othello, the Moor of Venice by William Shakespeare. N. p.: Simon and Schuster, Inc., 1957.
I was shy because I didn’t know anybody. Now I’ve gotten to know the people in my classes, and I’ve learned that they can help me just as I can help them. Because I was homeschooled, I was a little laid back on when to turn in assignments, I just turned them in when I felt like it. At college, I have changed the way I turn in assignments. I have learned that if I turn in my assignments early or on time I have a better chance of getting a higher grade. I have also changed in the way I manage my time, before I started college I would just get out of bed whenever I felt like it. Now I set alarms and different times on when I need to get something
Saudi Arabia is located in the Middle East and it is the biggest country in the Arabian Peninsula. Riyadh is the capital of Saudi and the language that they use is Arabic. The population there is around 29,2 millions, so it’s a huge country with many People. There is almost desert areas and the weather there is very hot and dry.
The Tempest by William Shakespeare is one of the most relevant and studied plays of the Elizabethan period among scholars, from both, ancient and actual times. One of the many readings that have prevailed suggests that the play’s protagonist, Prospero, and his two su-pernatural servants, Ariel and Caliban, can work as a single psychological unit is constantly discussed by the academics. This reading is not new; it has been considered for longer than the idea of The Tempest as an autobiographical allegory, being first proposed by Thomas Campbell in 1838 (Yachnin).
...acter, who is patriotic and stands by what he beliefs, attributes that are important even today. His final decisions exemplify his courage, his loyalty and his individualism, urging the reader to follow these traits of Okonkwo into the 21st century, but also see history from more than one point of view. On the other hand, the Tempest illustrates the world of Elizabethan England, with Prospero being Shakespeare, who had to cater to his rich and poor audiences, in order to make a living. His play might end as a light comedy but it shows the serious restraints of society, where no one is free to act according to his own thoughts and one’s fate rests in the hands of someone else. These two stories, while different in so many ways, challenge the audience to think about life today and see how much the aspects of conformity and individualism continue to battle to this day.
William Shakespeare is known as the greatest dramatist the world has ever known and remains the world's most popular author. No one can ever replace the famous plays that Shakespeare wrote. From tragedies, histories, and comedies that Shakespeare made. This story made me realize how superstition has a place in our lives. The possibility that people are able to foretell the future, or how are lives are controlled by fate, things happen for a reason and that just how things are meant to be. The concepts of good and evil are always unclear. This play is a perfect example of the great things Shakespeare accomplished, a dramatic yet tragic story line. This play gave me a better perspective not only of William Shakespeare, but the true power of words.
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
The Kingdom of Saudi Arabia is a country with a history of political dynamic. It was started from Jahaliyah age until now. There are some histories about political asylum in the Kingdom of Saudi Arabia. One of Arabic Royal family is concerned. In 2012, one of the daughters of Saudi Arabia that also is the grandson of the founder of the country. Princess Sarah bint Talal bin Abdulaziz Al Saud reportedly asked for asylum to the United ...
When adapting a play for the screen, a director’s primary responsibility is to visualize an enactment that remains true to the original work’s perception. In addition to this task, the director must also build upon the foundations laid by the script; without this goal, (s)he would have no reason to have undertaken the project in the first place. Providing an innovative reading of a well-known play is undoubtedly a challenging task, but few directors have met the challenge so successfully as Peter Greenaway in Prospero’s Books, an adaptation of Shakespeare’s play The Tempest. Greenway’s most compelling accomplishment in the film is his elegant rendering of the play’s theme of the artist as a creator. Prospero’s Books, as well as the original The Tempest, is an exercise in artificiality, genesis, and performance.
William Shakespeare’s The Tempest tells the story of Prospero who is exiled on an island along with his daughter, Miranda. Inhabiting the island is a spirit named Ariel and an ugly monster named Caliban. Miranda, Ariel and Caliban all vary in nature. However, all have been tended to and have been nurtured on the island by Prospero. Especially through Caliban and Miranda, Shakespeare demonstrates that education and nurturing can affect the person’s true nature and self.
Shakespeare was intending to represent several different groups of people in society through his plays and “The Tempest” was no exception to the rule. I aim to show how the “human” relationships in the play reflect real life relationships within Shakespeare’s own society (as well as his future audience), for which his plays were written and performed.
Shakespeare, William. The Tempest. Second Revised Ed. United States of America: First Signet Classics Print, 1998. 1-87. Print.
William Shakespeare’s tragedy Othello puts on exhibit an obvious hero and other not-so-obvious heroes. Let us examine them all in this essay.
Saudi Arabia, the leader of OPEC (Organization of Petroleum Exporting Companies), maintains a powerful position in negotiations with the U.S. and other countries. Its vast supply of oil directly effects per barrel pricing and is a unique bargaining tool in international politics. But Saudi Arabia is no ordinary country in today's world. Its borders are governed by a royal family of nearly 30,000 individuals, all of which share most of the wealth and almost all of the power. Its people, with foreign exceptions, are wholly Islamic and many practice the faith with a frightening sense of devotion. And despite the immense revenue generated by its oil reserves, part of its population still lives in absolute poverty. Although recently it has seen immense change, it is still a country fair behind the progressive world.
From all this, it is clear that, in a general sense, Shakespeare’s play, The Tempest, is a drama of lost illusions, bitter wisdom and fragile hope, as many characters go through that cycle (lost illusions, leading to bitter wisdom and ending with fragile hope), or various parts of it. Also, this description can be used in a more precise manner, when dealing solely with individual characters, particularly Prospero, Miranda, Alonso and Ferdinand.