“In a moment, however, wisely judging that one token of her shame would but poorly serve to hide another…” (p 45). One of the most significant scenes is in Chapter nineteen, when Hester lets down her hair and removes the scarlet letter, causing Pearl to “burst into a fit of passion” (p 180) Pearl was so upset that Hester removed her scarlet letter, because she felt as if she removed a part of herself. Pearl knows what the scarlet letter means, and that it is somehow associated with her. No matter how much Hester wants to cover up her sin, Pearl prevents her
But Juliet doesn’t mention that she has married Romeo. And so Juliet says that she won’t be the happiest bride and in anger Capulet says this extended metaphor. Since Capulet thinks that Juliet is greiving over Tybalt’s dead. So it seems that Capulet is telling Juliet to get over Tybalt’s dead and since she has been crying so much. He mentions that Juliet’s tears are the sea and her body is the boat where there tears flow.
Lear, in Monmouth’s work, laments the lack of a male heir and in admission of age, resolves to divide his kingdom amongst his daughters: Goneril, Regan and Cordelia. When his youngest and most beloved Cordelia fails to please him, however, Lear promptly banishes her in rage. Similarly, Shakespeare’s King Lear depicts an identical scene in which Lear furiously declares “Here I disclaim all my paternal care” (1.1.125). Lear’s decision to disown Cordelia in haste exhibits lack of patience and foresight. The significant resemblance between the two works provide insight of Lear’s inability to consider, which eventually leads to his downfall.
Explore the relationships/love presented in A1S1: In act one scene one, which is the opening of the play, Shakespeare firstly presented Lysander and Hermia as forbidden lovers. Hermia was just told that if she disobeys her father’s orders to marry Demetrius she can get killed and Hermia answers Lysander’s question: “Belike for want of rain, which I could well Beteem them from the tempest of my eyes.” the metaphor “rain” suggests her tears are like rain, she is crying so hard that her tears flowed like rain; this means that she is very melancholy that she couldn’t marry the love of her life, Lysander. Additionally it might also be shocking and weird for the audience back in the Elizabethan era, because they were living in a Patriarchal society, and that if you don’t obey your father you can die; because Hermia isn’t like the other women characters
This version is much less serious and mysterious than Homer’s, as it is a satire on the whole myth of the Sirens. Atwood decides to make the Sirens more relatable, they hate their job luring sailors to their deathtrap as much as any other person hates their day job. The Siren speaking indicates clearly that “I don’t enjoy singing this trio”, but she goes on to try to manipulate even the reader to “come closer”, as if she’s like a grifter trying to con you into dieing. At the end of the day, the Siren doesn’t want to be deadly or mysterious, she just wants to get the job done, and “it works every
Wright’s film reconstruction fails to convey an in-depth analysis of Lady Macbeth’s incentive for supremacy, causing modern audiences to antagonise her, completely contorting the intentions of the Bard. An additional scene Kurzel has chosen to unpack is the execution of Macduff’s family, whilst this scene is offstage in the play its inclusion within this film endorses the unavoidable fall of both Macbeth and Lady Macbeth. Highlighting Macbeth’s accumulating detachment from all emotion and pretentiousness. Lady Macduff and her children are tied to three stakes, enacting as a symbol for the holy trinity, significant as religion played a pivotal role in society at this time. Additionally, acts as surrogate to the reminder that Macbeth through his regicide, undermined the chain of being, as he was Duncan’s “Kinsman and his subject…” (Act 1: Scene 7: p.53), therefore metaphorically committing suicide of any opportunity he had in the
She makes her presence known and she explodes and responds with anger, “Thou, old Adam’s likeness, Set to dress this garden, how dare Thy harsh rude tongue sound this unpleasing news” (Bevington, 2014, 3.4. p. 356). Without a doubt, the Queen has made harsh reference to the gardener being the same as biblical Adam, whose disobedience to God caused both he and Eve to be removed from the Garden of Eden. The Queen continues her rath by blaming the gardener’s gossiping for this catastrophe and cursing his garden before running off to find her husband. Her comparison to the Garden of Eden is closely connected to Gaunt’s speech when he describes England’s current state as the second fall of mankind. In this case, the Queen suggests that her husband’s takedown is far worse than the first outcome of the Garden of Eden.
Edina St. Vincent Millay’s poem “Oh, Oh You Will Be Sorry for that Word” is a lyric poem in which a woman is arguing with a man that started when he said something derogatory about her reading such a large book when she is a delicate creature. The woman is obviously upset about the fact her supposed friend/lover/husband behaved badly towards her. It is a Shakespearian Sonnet because the rhyme scheme is ABAB CDCD EFEF GG with a meter that most likely resembles trochaic. The only line that does not fit into the meter is line three. The poem has Masculine Rhyme because the words that rhyme do so with the last syllable.
“Your words mean nothing when your actions are the complete opposite.” In Shakespeare's the tragedy of Macbeth Lady Macbeth is often viewed as evil by her actions when its the complete opposite; she is just misunderstood. She is misunderstood because she shows signs of weakness, and by the end of the play she is filled with guilt causing her to commit suicide. Lady Macbeth is misunderstood, not totally evil, because she shows signs of weakness and guilt. Lady Macbeth had to ask for help from evil spirits to follow through with killing Duncan, which shows she was not totally evil.“Come, you spirits that serve the thoughts of mortals: rid me of the natural tenderness of my sex and fill me from head to toe with direst cruelty!” (I, v, 39-42) Lady Macbeth did not think she could go through with killing someone because she was a weak woman and thought a man was more capable of killing someone. Later on in the play, Lady Macbeth was hallucinating and admitting what she had done while washing imaginary blood off of her hands.
Introduction Sonnet 130 is considered to be in the group of poems addressing the so called ‘Dark Lady’, who the speaker hates, loves and lusts for simultaneously. In the Sonnet Shakespeare characterizes the Dark Lady’s appearance with metaphors, which are extraordinarily out of character for the Petrarchan traditions. Instead of lauding the unavailable mistress in the highest terms, as the Petrarchan tradition dictates, Sonnet 130 humorously mocks those traditions by ‘placing innovative pressure upon the limits of metaphoricity’ (Callaghan, 56). This paper briefly engages with Shakespeare’s witty criticism of the Petrarchan traditions and mainly focuses on the different notion of love that Shakespeare portrays in this Sonnet. In contrast to the clichéd way of declaring one’s love to the beloved, which mainly consisted of lauding the object of affection, Shakespeare compares the mistress to a number of beauties of nature - but always against her favour.