The act opens with the characters discussing about the terrible storm raging at the sea. “It is a high-wrought flood. I cannot ‘twixt the heaven and the main/Descry a sail”. The storm creates a frightening and unpleasant atmosphere which stays throughout the whole scene. It also foreshadows Iago’s evil intentions and conflict that will happen later on.
James Hurst uses personification, foreshadowing, and diction to express a serious, grim mood. Personification is used to give character and spirit to the different weather elements in the story. Hurst uses words like “playing” and “roaring” to describe lightning and thunder in a storm, making it sound chaotic. According to his representation of how the lightning moved through the sky, the narrator and Doodle didn’t think that the lightning was frightening when they first saw it. Another verb that is used to add on to the feeling of chaos is “hiding”, as the thunder does to the sounds of the ocean, since in order to completely conceal something a sound would have to be extremely loud.
Richard Connell uses figurative language in “The Most Dangerous Game” to create a suspenseful and eerie mood. In the short story, the there are many uses of figurative language to give it an odd and creepy mood. For example, Whitney notices things while he is on the boat and explains to Rainsford,“There was no breeze. The sea was flat as a plate-glass window”(8). This simile is used to give an eerie feel for the novel.
In this passage, “There were delirious fancies such as the madman fashions. There were much of the bizarre, something of the terrible, and not a little of that which might have been disgust,” (Poe 392). Poe’s choice of words “bizarre”, “delirious”, and “terrible” create a dream-like mood; dreams can be very “bizarre” and also “terrible” at the same time. It is a very whirlwind like tone. Poe also chose to make the occasion of the story a party, a masquerade especially deepens the effect of a dream.
Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum.” Miraculously, the rope breaks and his elaborate escape plan from earlier comes to fruition; he is now in the water and can loosen his restraints. He escapes gunfire, cannon blast, and forces himself forward. This entire scene is filled foreshadowing about his actual fate: “His neck was in pain and lifting his hand to it found it horribly swollen. He knew that it had a circle of black where the rope had bruised it. His eyes felt congested; he could no longer close them.
In “Being Prey” the author Val Plumwood ventures out into an “unfamiliar” marsh that was being struck by a “severe storm”, this imposes an ominous, deadly effect on the setting. If Val had not gone out during such a dangerous time, the outcome of her story may have been different. In “A Sound of Thunder” Eckels travels to a setting with a very perilous “monster”, a T-Rex. This monster also imposes the same deadly effect as it did in “Being Prey”, especially on the setting. Both stories show several instances contributing to the dangerousness of their settings.
The Captain’s monologue precisely states conditions of the battle and further goes into describing Macdonwald’s character to King Duncan. Shakespeare labels Macdonwald as a man of no integrity by using a metaphor, “Multiplying -villainies of nature - Do swarm upon him”, (1.2. 11-12). This literary device emphasizes the idea that all the evils found in nature are attracted to Macdonwald like flies to meat. (Mabillard, 2009) This expresses the imagery of maggots multiplying and flies swarming, which evokes a feeling of repugnance in the audience, as if Macdonwald is a mass of corruption.
The rambunctious sea is an important element in the novel, it forebodes for evil and help to establish the sense anxiety . 31 “ I could see the sea from the terrace, and the lawns. It looked grey and uninviting, great rollers sweeping into the bay past the beacon on the headland” (R.,P.130). The sea carries a great secret; the secret of Rebecca’s boat is in the bottom of it . So, as people’s mood is reflected on their behavior , the sea is treated as a person whose mood is reflected on [his] behavior, the sea behaves wildly and hits the waves to reflect the horror that [he] witnesses and the big burden [he] carries and signaling a warning to the strangers .
The extravagant juxtaposition between the Shakespearean play and the Josie Rourke version ‘time travels’ David Tennant fans back to the age of Doctor Who. Rourke’s inspiration to place the characters in early 1980s Gibraltar, which is known for constant drinking, partying and members of the navy who seem to have far too much time on their hands; alongside the themes apparent in the play are very much familiar to a contemporary viewer: infidelity and the denial of love presented by Beatrice and Benedick, making it an obvious choice to set the remake of the famous Shakespearean comedy in a modern and well established society. Although this drastic change in location and time period may seem overwhelming and unexpected, Rourke still keeps the performance grounded to its Shakespearean roots, the consistent use of iambic pentameter and meter demonstrates this. It can be argued that the Tennant and Tate version is clearly mocking the Elizabethan societies traditional views, however, I feel Rourke only enhanced
The Tempest is a captivating play that follows the afternoon of a wizard and his revenge plot against diplomats that banished him to a deserted island with his daughter. The themes nature and nurture are compared and contrasted in order to explain the various behaviors presented by each character. According to the theme of nature in The Tempest, people and things are categorized as either naturally good or bad. It is believed that bad nature should be controlled. Nurture is also predominantly displayed in the play through Caliban and Prospero.