Acting Shakespeare, is very similar to acting other genres or styles but what makes it unique is its complexity of the text which entails a more in-depth exploration by the actor. It is almost another language because of the difference in English, yet it cannot be performed as such because we want the audience to understand with complete clarity. There is no exact guide or manual that tells us how to act Shakespeare; the only things he left us with, are his plays. This is why it is important to remember that an actor’s natural instincts are valuable and key in acting Shakespeare. According to John Barton’s guide “Playing Shakespeare” he states “Playing Shakespeare.
In fact, the author manages not only to portray a very intricate character by means of a range of verbs we will discuss later, but also focuse on the complexity of the actions one has to take under difficlut circumstances. Also, it stresses the regret we have once we choose one way since we may have no other chance to explore the possibilities of other options. Having studied Robert Frost’s biography and literary criticism on the poem we may assert that major themes combined in the poem include: 1. Isolation and limiting the individual in his or her natural and social environment, and the existence as a part of one’s lifetime dilemma, 2. The ambiguous nature as the foundation of human intelligence.
Thirdly, the language device, “words as character”, will be elaborated upon. Lastly, the language device, “words as conversation” with the audience, will be explained. Shakespeare was very specific, in 1603, about his choice of words when he wrote the play, “Othello”. The three language devices – “words as power”, “words as character” and “words as conversation” with the audience – are used to create characters’ identities and fates, and also to drive the plot of the play (Krieger, 2012). Powerful words are used in the world of “Othello” and can create order or chaos.
In Sonnet 55 and 18, Shakespeare demonstrates a serious and confident attitude that poem is the ultimate means to immortalize a young man’s life and/or beauty. By comparing words and other elements in the face of different challenges, poems, he contended, is the only eternal way in the immortalization of the young man. In Sonnet 55, the immortalization of the young man can only be achieved by words which can endure time factors and destruction from other forces. In the first quatrain, the poet proves that the poem is stiffer than any physical, historical structures and power in battle with time. ‘Marble’ (a kind of toughest, solidest construction component), ‘glided monuments’ (historical memorials in churches) and ‘princes’ (rulers and power) are
Love being such a commanding emotion, it inspires novelist, poets, and playwrights to create gripping literary works that will forever be counted as classics. Humans have evolved extensively, love has not. Yet our portrayal of it, how we describe it, how we present it to others, has. Looking at possibly the most famous love tale “Romeo and Juliet” by William Shakespeare, written in the Elizabethan era, and “The Notebook” by Nicholas Sparks, a modern love novel that could be considered a classic in the future. Although being centuries apart, a difference in portrayal of love, as well as evidence of intertextuality is
Critical Commentary: Sonnet 55, William Shakespeare There is always more than meets the eye when it comes to the poems of Shakespeare. Poets are particular with their choice and placement of words and it can be intriguing to dig a little deeper and try to uncover the true meanings and significance of what is written. Shakespeare is clever with his wordplay, diction, and literary devices to enhance the power of Sonnet 55. This particular poem seems to be addressing the same young man that is generally thought to be the addressee in the poems preceding this one. It is never made clear exactly whom this young man is but it is believed to potentially be the person the sonnets are originally dedicated to, a “MR W.H.”, but there has been no concrete evidence indicating exactly who Mr. W.H.
The method of socialist realism did not develop uniformly in all literary types. Scholars generally agree that poetry in Albania suffered a greater influence from socialist realism rather than prose, unlike Kosovo, where prose was more exposed to changes from this art-leveler method. 3.1 Development of poetry One of the main reasons why socialist realism influenced more the Albanian poetry was related to the fact that this literary genre was considered a follower of partisan songs. Since they were the strongest expression of liberation cause, partisan songs embedded in the recipient, thus conveying psychological and propaganda effects. As Milazim Krasniqi explains "lyrics of partisan songs written by Andrea Varfi, Fatmir Gjata, Kole Jakova, Qamil Buxheli, Shefqet Musaraj, and even Mehmet Shehu and Shefqet Peci, began the process of changing the function of the aesthetic text and promoted that as an exclusively ideological function" (Krasniqi, 2005, p. 164).
There were a few values, for example, Loyalty, Hospitality and the "Given Word", that Albanians furthermore Kosovars were known in the area when it went to the utilization of them. When a Kosovar provided for you the statement that you could rely on him before war, you truly could depend on him until the end. The cordiality additionally was mesh in the recent past, likewise as expressed in Kanun, regardless of the possibility that your foe went to your entryway in peace and requests help, he would get help and in the morning he would even now be a foe. Moreover the dependability was one of the essential qualities, in light of the way that in case you considered some individual a sidekick of your than you without a doubt understood that he would be unflinching to constantly.
The special temper of the poem is linked with a realization that a determined and collective bid to unite the two worlds is a compelling imperative which we shall ignore at our own peril. Another poem “A Summer Night” also attempts at combining the personal world of “Islands” and “gardens” and the political one of “violence”, “tyrannies of love” and “gathering multitude outside”. Although this problem of division between the internal and external worlds is the hallmark of the whole of Auden’s poetry, the poetry of the thirties particularly emphasizes the urgent need of uniting the two opposing worlds. And this can be done effectively when we learn to take sides, choose and act instead of remaining complacently lost in self-enclosed illusionary worlds. Auden had by then learnt to face reality with courage and make definite choices which reflected his partisanship or what can be better called a sense of responsibility towards those who are suffering and are being victimised.
For starters, his masterpiece, The Divine Comedy is considered a masterpiece of world literature. The story tracks the poet on his imagined journey through heaven, hell and purgatory and is considered a masterpiece of world literature. Not only that, but Dante is considered as the father of the modern Italian language – as he chose to write his works not in Latin, as was common at the time, but in his vernacular Tuscan dialect. This choice had profound consequences for writers who followed and is often cited as the main reason led Tuscan dialect became the basis for the modern Italian language. Talk about a lot to live up