Polyphemus is depicted as barbaric through Odysseus’, narrative perspective and tone. Book 9 starts off with a change in narrative perspective with it being a first person flashback in a framework of a third person narrative. This is key because the readers know that the third person narrator is a reliable narrator so Odysseus’, speech will be accurate but we don’t know if Odysseus is a reliable narrator. With Odysseus telling this to Alcinous, his host about his travels Odysseus is more likely to depict Polyphemus as barbaric. Odysseus also sets the tone of Book 9 by introducing it with him talking about, “the bitter pains I’ve borne,/so I’m to weep and grieve, it seems, still more.[...
One common theme during Shakespeare 's A Midsummer Night’s Dream is that the course of true love never did run smooth. As mentioned by Lysander in act 3, that theme is occurring during the play. I have selected the painting, An English River in Autumn by Benjamin Williams Leader. For my song I have chosen “The Climb” by Miley Cyrus. While a song written in 2009 might not be the first thing that comes to mind when you hear A Midsummer Night’s Dream, they overlap in themes.
Following comes the story of “The Odyssey”, where Homer presents the character of Polyphemus, the Cyclopes who devours Odysseus’s men. When Polyphemus ingests the men of Odysseus open their arrival, Homer gives readers a commentary on the barbarity linked to cannibalism. As with the proceeding stories, had Homer wished to portray Polyphemus as a mere brute or simple monster, he would have written Polyphemus as a murderer or oppressor. However, in order for readers to grasps the gravity of his monstrosity, Polyphemus not only kills his victims, but devours them as well. There exists a boundary within this story between the civilized and the barbarous, a line that distinctly becomes crossed in the act of Polyphemus eating the flesh of another human.
While Polyphemus may seem like too barbaric to be described as acting similar to that of a 20th century preacher, when both get into a fight they can be equally brutal. When the cyclops is met he has a wooden club with him. This club is probably used for attacking things. Then when they meet Big Dan under the tree, Big Dan decides to attack Everett and Delmar with a thick broken branch from a tree. Then in The Odyssey, Polyphemus kills Odysseus’ men in brutal ways by ripping them apart and then eating their remains, and in O’ Brother Where Art Thou, Big Dan kills Pete the toad by squishing him in his hand.
In William Shakespeare's play The Tragedy of Romeo and Juliet, the use of multiple literary devices makes the play interesting. Dramatic irony, which is when the audience knows more than the characters, occurs numerous times throughout the play and grabs the attention of the audience. Soliloquies, which are lengthy speeches by a character to project their thoughts and emotions to the audience, this allows the audience to be more attentive. Allusions are references by characters to well-known places, events from myths or other literature that cause the audience to be absorbed into the play. After reading this marvelous play, it is obvious that Shakespeare uses dramatic irony, allusions, and soliloquies all written in blank verse to grasp the undivided attention of the audience.
Of the only fourteen times she speaks in this play, none of them indicate unhappiness or angst regarding the impending marriage. She hints at some vague sadness in the very beginning of the play: “And then the moon, like to a silver bow / Now bent in heaven, shall behold the night / Of our solemnities” (1.1.10). Shakespeare’s choice to not give her any lines indicating discomfort reinforce the idea that women are rewarded for accepting the decisions of others and repressing their own desires. He deliberately suppresses aspects of her character that have been implied with her character’s mythological roots, and replaces them with a character supportive of his message regarding female choice in A Midsummer Night’s
Dissension from Imitation: Assessing René Girard’s “Myth and Ritual in Shakespeare: A Midsummer Night’s Dream” One observation René Girard brings up is a presence of two plays, or types of play, under the name of A Midsummer Night’s Dream. Girard leads into main misconception readers, critics, and the audience usually have when reading A Midsummer Night’s Dream. They believe that the play is one of Shakespeare’s weakest due to their insistence on any text they read or any object in their environment must make sense by leading to a clear, nonnegotiable end and so dismiss events that do not fit into their knowledge of reality. Meanwhile, Girard claims this prevents this group from seeing the motives behind the character’s war-like actions.
A Midsummer Night 's Dream is the apotheosis of a free, self-determined love which transcends tradition, the ancient law of Athens, and paternal authority. Schematically, the play is a masque. Shakespeare does not destroy its form, as in the case of the pastoral in As You Like It, but uses another method. The formal, ancient mythology is supplanted by plebeian superstitions (fairies, the mischievous Puck). Shakespeare instills vital emotion into the tenuous scheme of the affected court masque.
It is also thought that inspiration of the play came from Chaucer 's "The Knight 's Tale" and Ovid 's Metamorphoses. (“Hunter, John (1870). A Midsummer Night 's Dream. London: Longmans, Green and Co.”) The play 's plot of four lovers having love drama in the woods was to illustrate Der Busant which is a style of Middle High German poem. (“Twyning, John
The use of dramatic irony in A Midsummer Night’s Dream made the play more humorous, interesting, and entertaining to read or watch. The main example of dramatic irony in A Midsummer Night’s Dream occurs in the middle of the play and it adds chaos and entertainment to the writing. In Act III, Scene II, Helena believed she was being mocked by Demetrius and Lysander. Leading up to the scene, Helena loved Demetrius, but both Lysander and Demetrius loved Hermia. Because Demetrius and Lysander both randomly fell in love with Helena, she was led to believe she was being made fun of.