Thus, by contrasting demonic imagery with Othello’s true nature, Shakespeare develops the theme of how impressions can be deceptive. This is further emphasized by Brabantio’s impressions of Othello. After Othello’s noble nature is first revealed to the audience, he politely addresses Brabantio, stating “Good signior, you shall more command with years/Than with your weapons” (I.ii.___). Brabantio responds insultingly, utilizing hellish imagery when addressing Othello, stating “Damn'd as thou art, thou hast enchanted her” (I.ii.___). In this scene, the demonic imagery Brabantio uses serves as a harsh contrast between his impression of Othello as “Damn’d” and Othello’s actual calm and noble nature.
The religious preferences and philosophy of the English Renaissance affected Shakespeare’s writing. The battle for a man’s soul comes from the Christian idea of God in heaven conflicting with Satan in the world. Shakespeare views evil as more than only bad deeds; it breaks the holy order that God instituted to hold the universe together (Miller). Expanding
They tend to highlight what cost the Doctor Faustus to pursue such immoral and harsh actions and who he meets on his journey. I feel that the article that these two collaborated on was very well thought out and well informed. This play is a mixture of comedy and tragedy depending on which version the director is doing. The earlier play from 1604 writings of the play goes between both tragic and comic scenes. While, the later versions of the play printed in 1616, tends to lean more on the comic side of the play than the darker side.
It is important to understand the role of cross-dressing in case of Bernhardt. Jennifer Drouin suggests that cross-dressing is of three kinds: -“a) theatrical, a practice… rooted in necessity, b) Drag, a humourous parody of hetero-normative behaviour and c) passing, a subversive infiltration of society that attempts to occlude difference” (Bulman 15). These distinctions,
The Tragic Hero The people of our time know Oedipus Tyrannus as a hero of the two Sophocles tragedies. Oedipus is a mythological person, at least in his origin. Sophocles shaped it on the basis of old Thebes’s myths with such a mastery that he grew up to one of the greatest figures of Greek and world dramatic creativity. Oedipus was destined by a terrible curse by Pelops because of the crime that incurred when Laius committed the crime of rapping the young Chrysippus, son of King Pelops. That curse was to persuade King Laius and to punish him and his lineage to the third child, and his first victim was supposed to be King Laius himself, and was destined to die from the hands of his own son.
Gotthold Ephraim Lessing 's Minna von Barnhelm or Soldiers Fortune is a Lustpiel. As suggested in its name, a Lustspiel is a comedy. The play is introduced as ein Lustspiel in fȕnf Aufzȕgen verfertiget im Jahre 1763. (Lessing 2012) Lessing combines tragedy and comedy in the sentimental comedy. The sentimental comedy is that Tellheim must overcome his moral trials which include bribing the saxons and feeling he is unworthy of Minna 's love.
Hogan pointed out that Milton’s prototypes of Satan, Eve and Adam and the story of the fall influenced John Dryden, William Blake, Shelley as well as the novelist Daniel Defoe (op.cit.). Nonetheless, Milton’s paradise Lost initiated a more significant debate about who (if any) was its hero. Joseph Addison, in one of his famous essays in The Spectator, argued that Milton had no hero in the classical sense, and if there is one it must be Christ. John Dryden named Satan as its technical hero and both William Blake and Shelley relied on Milton’s description of Satan to declare him on the side of Lucifer, who; “…above the rest// In shape and gesture proudly eminent,// Stood like a tower…”(Paradise Lost; I.598-91) As a matter of fact, Milton’s debatable hero drove Childs and Fowler (ibid; 105) to announce that “getting rid of ‘the hero’ seemed a critical necessity since the concept (of hero) was a barrier to the understanding of literary structures…and critics preferred the slippery term ‘character’. But, with novels like Wuthering Heights, and the writings of Vladimir Nabokov and Samuel Beckett, there emerged villainous or insane narrator-heroes who forced the term ‘antihero’ to fill a gap that the term ‘character’ could not fill.
The involvement of parliament members could justify why Queen Elizabeth decided to start strengthening the Anglican Church. English Renaissance theatre is derived from different medieval theatre traditions such as mystery plays that were performed in Europe as part of their religious festivals. These mystery plays are mostly retellings of legends based on biblical theme, which were originally performed in churches. This brought around the birth of secular based plays since they were built around religious festivals. (Renaissance English Drama, 2010) Elizabethan playwrights borrowed most of their ideas for their plays from the Roman playwrights.
Each socio-cultural factor led to various conflicts like insecurity and lack belongingness. In turn these conflicts manifested themselves in to existential issues and alienation. In this backdrop, this chapter looks at The Foreigner through different analytical prism to that of alienation and existentialism. The basic determinants of conflict are generally socio-cultural factors. Hence, in this chapter conflict in The Foreigner is analysed through socio-cultural factors that actually gave birth to conflict in the novel.
Philip Pullman said (about Milton), “when he writes about Hell and Devil, he writes with freedom. But when he writes about Heaven and Angels, he writes with chains”. He feels that Milton is of the devil’s party and that he knows it. In accordance with this belief, one may say that, in Satan, Milton portrays a part of himself. He brings out his beliefs and his arguments against God through the character of Satan.