In order to grow and learn as a person, one must be a dynamic person and not static. A character is dynamic when a person undergoes an important inner transformation in their personality and/or attitude. A static character is the opposite of dynamic; static characters are defined in such a way that the character does not portray any changes from the beginning of the story to the end of the story. In Shakespeare’s play, The Winter’s Tale, there are a couple of characters that are dynamic, but there are also characters that are static. First of all, dynamic characters are those who either learn a lesson from something that happened to them or are otherwise altered by what they have faced and experienced. These types of characters provide …show more content…
Leontes starts from talking to Hermione in blank verses that are calm by stating “Why, that was when/ Three crabbed months had soured themselves to death /Ere I could make thee open thy white hand/ And Clap thyself my love” (1.2.102-105) to saying “...paddling palms and pinching fingers, / As now they are, and making practiced smiles…” (1.2.116-117). This shows how Leontes goes from a calm tone to harsher tones by using plosive language that helps to display the anger he has when he is describing what just happened between Hermione and Polixenes. As Leontes’s jealousy grows, so does his rage towards others. This leads Leontes to feel as if no one else can see the real truth of what has just happened between his wife and best friend. Also, the reason to his change of language could also be due to the fact that Leontes is becoming scared of Hermione because he sees how Hermione can be powerful enough to convince the King of Bohemia to stay, whereas he could not. Leontes then uses his kingly power and a mix of strong language to threaten others and believes that he has to talk in a certain way and keep changing in order to make other people around him feel that he is in power and that they are …show more content…
Even though she is the daughter of the Emperor of Russia, she never does dishonor Leontes during his time of jealousy. At the beginning of the play, Hermione is seen as this devoted wife who loves her king very dearly and even utters to Leontes, “I am yours forever” (1.2.106). At the end of the play, her loves towards Leontes is still the same and stands true. Hermione may seem that she is a weak and submissive character during her first appearance in act 1, scene 2 and may not seem that she is a static character. This reason is due to the fact that, throughout the play, it looks that Hermione was submissive and as the play starts to unfold she turns into this strong woman. However, it may look that way, but deep down Hermione was always strong. It was because she valued her king so much that she did not really over step her line, which would give off the feeling that she is a submissive character at the very beginning. To prove that she was always strong and powerful from the start, there 's a part of the play when Polixenes, Leontes’s childhood friend, was about to leave their kingdom of Sicilia and Leontes was not able to convince Polixenes to stay a while longer. When he could not convince him to stay, he asks Hermione to convince him. Hermione tells Polixenes, “What lady she her lord. You’ll stay?” (1.2.45) but that does
Summer at Devon is easygoing as teachers mellow out and the rule enforcement dwindles, such carefree behavior represents childhood; Devon’s winter session is ultimately more strict and level, emphasizing the mood in adulthood. As the sun shines bright, tension unravels and everyone at Devon loosens up including the teachers as Gene explains on page 23, “Now on these clear June days in New Hampshire they appeared to uncoil, they seemed to believe that we were with them about half of the time, and only spent the other half trying to makes fools of them.” The summer days are filled with happy-go-lucky antics that seem to come with no serious consequence; exactly how a young child would spend everyday of his life as a youthful boy. There is no
AP English Literature and Composition MAJOR WORKS DATA SHEET Title: A Raisin In the Sun Author: Lorraine Hansberry Date of Publication: 1951 Genre: Realistic Drama Biographical Information about the Author Lorraine Hansberry was born in Chicago on May 19, 1930. She grew up as the youngest in her family. Her mother was a teacher and her father was a real estate broker.
An archetype in literature is defined as a typical example of a certain type of person. A character in a poem or play can be placed into many different archetype categories. Archetypes help a reader to gain a better understanding of who a character in the work is on the inside. This deeper insight into the character allows the reader to follow the flow of the story easier and more effectively. There are many different archetypes that can help to advance the story. One of the most useful in advancing this story is the typical powerful character. Whether it be supernatural or cunningness this character always comes out on top in the situation and holds the most control over others and their actions. “Where Are You Going, Where Have You Been?”,
The play “A Raisin in the Sun” by Lorraine Hansberry has many interesting characters. In my opinion, the most fascinating character is Ruth because of her many emotions and captivating personality. She goes through extreme emotions in the play such as happiness, sadness, anger, stress, and confusion. Ruth is very independent, firm, kind, witty, and loving.
A character goes through many changes that depend on the kind of events they experience. The play “Romeo and Juliet” written by William Shakespeare, uses different tones and language that shows the readers that Juliet, a Protagonist, changes over time, proving the idea that she is a dynamic character. At the beginning of the play, we are introduced to a young, innocent and inexperienced girl, Juliet the daughter of Lord Capulet . She has not yet seen the real world and is raised by the person she trusts most, her nurse. Juliet begins as a naive child who has thought little about love and marriage, but she grows up quickly upon falling in love with Romeo, the son of her family’s great enemy. Due to the fact that Juliet is a girl in an aristocratic family, she has none of the freedom Romeo has to rome around the city, climb over walls in the middle of the night, or get into swordfights. As we begin to learn more about the character of Juliet, we learn that Juliet is not the girl she used to be anymore. She is more courageous and willing to break the rules. She goes against her and her family beliefs. In the beginning of the play she obeys her parents. But as the play descends Juliet is disregarding of what her parents say. She is no longer the innocent girl she use to be. Shakespeare use of language helps the reader to see the change in a character that makes them a dynamic character.
Authors present their characters either directly or indirectly. In all good fiction all characters are dramatized. There are flat characters, they can be summarized pretty quickly. There are special types of flat characters one of which is called a stock character; characters we recognize right away (a sheriff or detective) On the other hand are round characters, which have qualities of real people and are many-sided. The static character is the same person from beginning to end, and finally there is the developing character which undergoes some kind of change, this character usually undergoes an epiphany. “Ultimately it is the quality of the characterization by which a literary story stands or falls”. [page 173]
Much of the dramatic action of Shakespeare’s tragedy, Hamlet is within the head of the main character, Hamlet. His wordplay represents the amazing, contradictory, unsettled, mocking, nature of his mind, as it is torn by disappointment and positive love, as Hamlet seeks both acceptance and punishment, action and stillness, and wishes for consummation and annihilation. He can be abruptly silent or vicious; he is capable of wild laughter and tears, and also polite badinage.
Though the evils of the world may discourage us from reaching our full potential, fairytales such as Little Snow-White by Jacob and Wilhelm Grimm teach us that good will always triumph over evil. As many tales of its kind, Little Snow-White uses a number of literary devices to attract a younger audience and communicate to them a lesson or moral that will remain with them throughout their lives. Since children have such an abstract stream of thought, it is vital to use language and devices that will appeal to them as to keep them interested in the story.
In the novel by John Steinbeck The Winter of our Discontent there are numerous ways one can relate Ethan’s life to the major themes theory. Throughout the novel Ethan is in a moral struggle to decide whether or not he should try and get ahead at any means possible, or remain in his menial grocery clerk job. His compassionate ways are actually holding him back financially, because he is surrounded by ruthless corporate men that will not think twice about attacking someone else for their financial self-interest.
I consider them to be a static and flat characters because they remain essentially the same at the end as they were at the beginning. They tend to have just one dimensional throughout the scene and they do not undergo significant growth or changes. An example of Flan would be when Ouisa his wife tries to help Paul out of jail but he refuses. He sticks with his ego and does not change his way of thinking. A key of action for this character would be when he was about to lose everything and next thing you know he sells his Cezanne for two million dollars to Geoffrey. Moreover, Conway is a lonely character that picks up a hustlers, which ended up to be Paul. His desire for him was strong that he gave Paul information about wealthy people in New York and prepared him to be one of them. A key of action for this character is when he mentioned Paul stole his address book, but didn’t want to press any charges. Was it because he was afraid or because he really did like
Upon examining Shakespeare's characters in this play, Hamlet proves to be a very complex character, and functions as the key element to the development of the play. Throughout the play we see the many different aspects of Hamlet's personality by observing his actions and responses to certain situations. Hamlet takes on the role of a strong character, but through his internal weaknesses we witness his destruction.
Shakespeare depicts dynamic characters as progressive or regressive to show how a situation builds on their personal characterization. Shakespeare puts individuals into situations that push them to either progress or regress as a character. This characterization can be seen in two of his plays, Hamlet and King Lear. In Hamlet, the main character, Hamlet, falls into madness. The situations Hamlet is put in drives him further towards the state of Madness we see him in by the end of the play. This can also be seen in King Lear with the character, Kent. Unlike Hamlet, Kent jumps into his character, his progressive characterization is more rapid at first. Hamlet, however, has a slow transition into the madman he ends up portraying. Shakespeare shows
In the play The Tempest, William Shakespeare portrays Ariel as an influential and humanlike spirit. In the beginning of the play, Prospero, the former Duke of Milan, rescues Ariel from the torturous ruler Sycorax. Sycorax, the mother of Caliban, traps Ariel in a cloven tree after Ariel denies him the use of his magic to complete the evil commands he wished. Eventually Prospero rescues Ariel from the tree, enslaving Ariel as his loyal spirit. Shakespeare displays Ariel’s growth as a spirit through his relationships with Prospero and Caliban on the island. Ariel uses compassion, sympathy, reason, and cleverness to guide Prospero’s decisions throughout the play.
Othello is one of the typical Shakespearean plays in that it deals with the tragic hero. Othello is convinced that his wife, Desdemona, is cheating on him with Cassio. Beginning with the aperture lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer equivocally to a “he” or “him” for much of the first scene. When they commence to designate whom they are verbalizing about, especially once they stand beneath Brabanzio’s window, they do so with racial epithets, not designations. These include “the Moor” , “the thick-lips” , “an old ebony ram”, and “a Barbary horse” (Cite). Although Othello appears at the commencement of the second scene, we do not hear him called by his name until well into Act I, scene 3. Later, Othello’s will be the last of the three ships to arrive at Cyprus in Act II, scene 1; Othello will stand apart while Cassio and Iago suppositious discuss Desdemona in Act IV, scene 1; Othello will postulate that Cassio is dead without being present when the fight takes place in Act V, scene 1. Othello’s status as an outsider may be the reason he is such easy prey for Iago.
“My ending is despair… Mercy itself and frees all faults” (Epilogue.15-18) Prospero begs to be forgiven for his sins; sins accumulated by multitude acts of villainy. He develops into a villain though the emersion into villainy is hindered by his true nature. In The Tempest by William Shakespeare, a variety of characters exhibit acts of villainy, yet Prospero demonstrates a developmental villain persona throughout the whole play.