Comparison between the Great Gatsby and Macbeth Essay

Macbeth is one of Shakespeare’s most extreme plays and one his most perplexing mental examinations. It is likewise a play about which there is a lot of chronicled foundation, which I think you’ll find intriguing in light of the fact that it uncovers Shakespeare’s inventive procedure. The play was written in 1605â€1606. It’s one of the plays where the date is pretty immovably settled by interior references to outside occasions, and most researchers have conceded to the date. Shakespeare was at the tallness of innovative forces, and his dramatic organization, the King’s Men, was the official regal acting organization. He had the huge Globe Theater, an enormous open playhouse on the south bank of the Thames. He would before long open the Blackfriars Theater, a little private venue inside the city itself where the plays were performed inside, and he and his men performed frequently at the court for the lord and his family. The Blackfriars Theater would be excluded from the law denying theaters inside the City of London by being an exclusive hangout. It could oblige just two or three hundred individuals, contradicted to the Globe crowds of two or three thousand, and in this manner Shakespeare charged a more significant expense for passage. That thusly implied that the crowd was wealthier and more advanced than the normal participant at the Globe was. Since the plays were performed inside by fake light, they should be possible whenever or climate. Since it was a littler theater, the acting style utilized could be more unobtrusive and downplayed than the wide, excessively sensational acting utilized in the Globe before crowds of a few thousand. To the extent we know Shakespeare’s organization keep on playing out all the plays in the two theaters; it’s simply that the creations would have contrasted in the manner they were performed. When you know something of the complex verifiable foundation, an inquisitive reality develops about this wicked, fierce show: the tale of this insane executioner and his fiendlike spouse was really composed as a tribute to Shakespeare’s imperial benefactor, King James I of England, who was additionally lord of Scotland. What an unordinary approach to thank the ruler for his support! Of the entirety of his plays, this is an incredible anticipation spine chiller. We may know who the executioner is, yet we are interested to check whether Macbeth pulls off it and to perceive how he persuades himself to submit the numerous manslaughters. The authentic foundation is important to assist you with understanding why Shakespeare composed the play the manner in which he did. Without the foundation there are numerous entries and references which look bad to a cutting edge crowd. This foundation likewise uncovers the captivating way Shakespeare utilized and curved history to improve a play and to address the political plan of King James. It likewise shows a portion of the things going on around then in English society and legislative issues. Macbeth is a transparently political play. Macbeth is viewed as a history play, in light of the occasions in the life of a genuine chronicled figure, yet it is significantly increasingly an incredible catastrophe. Shakespeare messed around with verifiable reality in the entirety of his history plays, however none more so than this play. At the point when Shakespeare composed a play like Richard III, he was expounding on occasions that had occurred around 100 years prior, so the vast majority in his English crowd had a general feeling of what that time resembled. On account of Macbeth, he was expounding on a period more than 500 years in the past in a nation about which a large portion of his English crowd was absolutely new. Shakespeare and his crowd didn't believe history to be a science, in which the objective was precision; rather history was a workmanship, identified with narrating. The reason for history was to make an ethical point about the current society. You looked to the past to discover or make matches with the current age that would assist you with clarifying how individuals ought to act at this moment. Along these lines history was frequently controlled, changed or essentially made to help some political plan. Each lord as of now utilized history as an apparatus in his munititions stockpile to help cling to control. They would enlist proficient students of history to change the past to help their case to control in the present. Additionally, strict figures would utilize history as a weapon to assault their adversaries. In numerous records composed right now by Protestant backers, history is viewed as the ascent of numerous proto-Protestants, individuals who lived several years prior to Martin Luther, the main authority Protestant. These prior figures are demonstrated to be harbingers who just didn’t acknowledge they were Protestants. The recorded sources that Shakespeare utilized were as much folklores as theyâ are reality. In reality there was almost no thought about the authentic Macbeth, so if the history specialists hadn’t made things up they wouldn’t have had a lot to state about him. Shakespeare’s chief source, Holinshed’s Chronicles of Scottish History, was a free assortment of tattle, stories and dreams, so the material he was utilizing was at that point truly defective from a verifiable viewpoint. Shakespeare at that point utilized this imperfect material specifically, not recounting to the entire story, however just odds and ends that made for a decent show. He adjusted chronicled records to increase sensational impact, as we’ll find in the emotional record of Macbeth’s first homicide. Shakespeare additionally changed history to streamline complexities and, in all honesty, to kiss up to King James. Shakespeare took a story as far as anyone knows set in the eleventh Century, around the year 1050, and filled it with numerous references to occasions occurring in 1605 in England, specifically to one of the most emotional occasions in English history, the Gunpowder Plot, which had happened recently the prior year. No big surprise the play looks to some extent like the chronicled reality. The chronicled Macbeth had become lord in the year 1040 when he murdered the past ruler, Duncan, in fight. To place this in a recorded setting, this is not really the Middle Ages; it’s still the Dark Ages, as antiquarians have named the different phases of European history. It is 26 years before the Norman attack of England, which is commonly viewed as the start of the medieval period in Britain. In 1040 Macbeth became lord and controlled for a long time until he was ousted and killed by Duncan’s child, who became King Malcolm III. Malcolm is popular principally on the grounds that he wedded an English princess named Margaret who was later made a holy person. As indicated by the Scottish antiquarian Archibald Duncan, little is thought about Macbeth and his beautiful spouse Grunnich, then again, actually they were devout and blessed a strict house at St. Andrew’s (which is presumably the caddy shack on the fourth green of that acclaimed fairway †joke). The couple went on a strict journey to Rome where, the writers stated, â€Å"they planted cash like seed.† (Many of us when we take some time off do something very similar.) That’s all we know for sure about the genuine Macbeth. Presently the way that Macbeth murdered the past lord was not a serious deal. Ofâ the eight Scottish lords who administered during this time, seven had kicked the bucket unnatural passings, including a few who consumed to death until dubious conditions. It was profoundly unordinary for a Scottish lord to bite the dust of common causes in bed. This brutal record was to a great extent the consequence of how Scottish lords came to control. There was no fixed procedure of progression starting with one ruler then onto the next. As a result, when an old ruler kicked the bucket each male who was identified with the regal family, regardless of how far off the relationship, had an equivalent possibility for the seat. It was a sort of illustrious out of control situation with the sole survivor getting the opportunity to be the lord until he was done in by the following aspiring inquirer. Macbeth is toppled in 1057, still nine years before the Norman French intrusion of England under William t he Conqueror. 200 years cruise by. The Norman lords are on the seat of England. A progression of English lords and sovereigns has attempted to expand their capacity north into Scotland, as ages of Scots have assaulted English settlements toward the south. The fighting between these two notable adversaries is practically steady. In the mid-1200’s the English ruler Edward, otherwise called Longshanks and the Scots Killer, has attacked Scotland resolved to enslave it for the last time. He pushes north and arrives at the sacred spot of Scone where the Scottish rulers were delegated. Here he holds onto the sacred relic called the Stone of Scone and returns it to London where he puts it under his seat at Westminster Abbey, where it stayed for seven centuries, in spite of the endeavors of Scottish patriots to take it back. (Leader Tony Blair at long last restored the stone to Scotland after his political race †a keen political move.) The film Braveheart gives you a profoundly emotional feeling of the contention as of now between the Scots and the English. The Scots retaliate ineffectively on the grounds that they are not joined in their endeavors. At long last one man emerges who can weld the Scottish individuals into a solitary country, Robert the Bruce, and he can prompt a Scottish triumph. The English need to recognize the privilege of the Scottish State to exist. Ruler Edward is sharply baffled and when he kicks the bucket, he leaves directions that if England ever mounts another intrusion of Scotland, his bones are to be conveyed at the leader of the military. So you perceive how unpleasant the scorn is between the two countries. Under Robert the Bruce the Scots prevail with regards to driving the English out, yet in 1329 he passes on and his girl climbs the seat. She had hitched a person who resembled the business supervisor or steward of the illustrious homes. Of course the guy’s name was â€Å"Steward† or as it came to be spelled, â€Å"Stuart.† And so the Scottish seat gave to this dark family that had never been more than government workers. Presently every regal family stressed over two things: progression, or

The Theme Of Inherit The Wind Essay Example For Students

The Theme Of Inherit The Wind Essay In the play Inherit the Wind by Jerome Lawrence and Robert Lee, the subject is that all individuals reserve the privilege to think. One examply that underpins the subject is the discussion among Howard and Melinda. While dangling a worm before Melinda, Howard comments, Whatre yuh skeered of You was a worm once (4). Melinda answers by shouting that is evil talk and Im going to tell my dad (4). The two youngsters contemplate their convictions and are affected by the individuals around them. The reasoning procedure starts when exceptionally youthful. Kids continually ask the inquiry For what good reason? Howard and Melinda start to consider what is the correct conviction. Another case of the subject happens during the scrutinizing in act two. During the scrutinizing, Drummond urgently attempts to build up that everybody has the privilege to think (64). We will compose a custom paper on The Theme Of Inherit The Wind explicitly for you for just $16.38 $13.9/page Request now Drummond says that a man is being investigated and compromised with fine and detainment since he decides to talk what he thinks (64). One more case of the topic happens when Bert and Rachel choose to go off all alone. Rachels choice to split away from the convictions of her intolerant dad and go off with Bert is communicated when she answers to Bert, Im not certain. Be that as it may, Im leaving my dad (110). Cates offers to convey Rachels bag while yelling behind him, See you at the station (115). Theyve concluded that in spite of the fact that they arent sure which conviction is correct or wrong, they need to realize that theyre allowed to talk what they think. Without a doubt, the topic of Inherit the Wind is the privilege to think.Words/Pages : 280/24

Blanches Character in A Streetcar Named Desire - Literature Essay Samples

In Tennessee Williams’ play, A Streetcar Named Desire, the nature of theatricality, â€Å"magic,† and â€Å"realism,† all stem from the tragic character, Blanche DuBois. Blanche is both a theatricalizing and self-theatricalizing woman. She lies to herself as well as to others in order to recreate the world as it should be—in line with her high-minded sensibilities. To that extent, much of her creations arise from a longing for the past, nostalgia for her lost love, her dignity, and her purpose in life. She is haunted by the ghosts of what she has lost, and the genteel society of her Belle Reve, her own beautiful dream. Blanche arrives at Stella’s doorstep with, essentially, a trunk full of costumes from her past. She is intensely self-conscious and a performer in the utmost sense. We meet Blanche at a point in her life where few, if any, of her actions do not seem contrived or performed to some extent.In Scene 3 of Act I, she produces a small performance for her suitor, Mitch, in her efforts to seduce him. She turns on the radio for soundtrack, directs Mitch to â€Å"†¦turn on the light above now!† and exclaims, â€Å"Oh, look! We’ve made enchantment (39)!† as she dances away as the self-cast star of the impromptu performance. Stella applauds from the sidelines as her audience, and Mitch sings and sways to the music. This caricature of a production is repeated in Scene 1 of Act II, where Blanche assigns roles to others as well. With her slightly unwilling newspaper collector, she attempts to set the mood as narrator of sorts. While he answers her request for the time promptly, Blanche chooses to meander into a dreamy digression—â€Å"So late? Don’t you just love these long rainy afternoons in New Orleans when an hour isn’t just an hour—but a little bit of eternity dropped in your hands—and who knows what to do with it (59)?† After she drapes her self in a gossamer scarf from her costume-like trunk, she directs the boy across the stage of her room to receive a kiss before his exit. Mitch’s immediately following entrance with an â€Å"absurd little bunch of flowers† further emphasizes the surreal, parody quality of this exaggerated production. â€Å"Bow to me first!† she orders adamantly, â€Å"And now present them!† Blanche’s deep curtsy and melodramatically affected, â€Å"Ahhh! Merciiii!† give this scene a profoundly self-aware sense of the theatrical. Stanley himself indulges in theatricality at the end, when he dons his wedding night silk pyjamas to celebrate alongside Blanche, who is clad in her tiara and â€Å"fine feathers.† Commenting on their mutual costuming, Stanley acquiesces, â€Å"I guess we are both entitled to put on the dog! You having an oil millionaire, and me having a baby (90)!† However, Stanley’s reason for celebration is grounded in reality (Stella is giving birth in a nearby hospital), and Blanche’s reason is pure fantasy. Streetcar is filled with such instances in which audience and performer are one. The play has been seen by many as postmodernist in this deconstruction of the self. There is no true self—just performances projected out into the world in endless recursivity. In her final confrontation with Mitch, Blanche comes to terms with her deceitfulness. â€Å"I don’t want realism. I want—magic! †¦I try to give that to people. I do misrepresent things to them. I don’t tell the truth, I tell what ought to be truth. And if that’s a sin, then let me be damned for it! Don’t turn the light on (84)!† Much of Blanche’s fabrications result from an acute awareness of sexual double-standards she tries to offset—disadvantages that Williams himself was very attuned to as a homosexual writer. Blanche lies primarily to manipulate he r circumstances to better suit her feminine agenda, explaining to Mitch that she refuses to accept the hand fate has dealt her. Streetcar is, at heart, a work of social realism. Blanche’s need to alter reality through fantasy is partly an indictment of the failure of modernity for women, a critique of the social institutions and postwar attitude of America that so restricted their lives. Blanche lies about her age because she views it as another setback of reality. She puts on an act of propriety for Mitch as well, to better fit the role of a desirable, acceptable woman. As she confesses to Stella, â€Å"I want [Mitch’s] respect. But†¦men lose interest quickly. Especially when the girl is over—thirty†¦of course, he—he doesn’t know—I mean I haven’t informed him—of my real age (57)!† When Stella asks why she is so sensitive about her age, Blanche responds, â€Å"Because of the hard knocks my vanity’ s been given. What I mean is—he thinks I’m sort of—prim and proper, you know! I want to deceive him just enough to make him—want me†¦Ã¢â‚¬  Blanche’s creation of magic is borne of a necessity to cope with and survive reality. Her complete dependence on men blurs her distinction between survival and marriage, and instead she associates Mitch with precious reprieve. When Stella asks Blanche if she even wants Mitch (after Blanche’s rambles of wanting Mitch to want her), Blanche’s response is very telling: â€Å"I want to rest! I want to breathe quietly again! Yes—I want Mitch†¦Just think! If it happens! I can leave here and not be anyone’s problem†¦Ã¢â‚¬  Her desperate obsession with securing Mitch’s desires glosses over the fact that she likely does not desire Mitch for who he is, only what he represents. Their differences are jarring, and his bumbling and boorish nature falls far from her romantic ideals. This is sadly reminiscent of her impossible love for her closeted husband, Allan Gray—that is, love of an image she created. The role she created for her first love proved ultimately unreal and irreconcilable with his true identity. In her present desperation, Mitch represents a sort of emancipation to Blanche, who is incapable of seeing around her dependence on men for financial and social sustenance. This limiting view deprives her of any realistic conception of how to rescue herself, and further deludes the logic of her world and secures her downfall. Her obsession with her own sense of mortality stems from her inability to see life outside of marriage—a life of solitude to her is synonymous to destitution, social death, and essentially, the end of life as she knows it. One has an image of Blanche drowning, struggling to stay afloat, and her growing exhaustion from keeping up pretenses is ominous, marking a looming deadline for the tragic her oine. â€Å"It isn’t enough to be soft—you’ve got to be soft and attractive—and I’m fading now. I don’t know how much longer I can turn the trick (56).† Throughout the play, Blanche also avoids appearing in direct, bright light as part of maintaining her painstakingly constructed image. She especially avoids light in front of Mitch so that he doesn’t see the reality of her fading beauty, refusing to go on dates with him in the daytime or to well-lit locations. She also covers the light in the Kowalski apartment with a Chinese paper lantern when she arrives. Light also symbolizes the reality of Blanche’s past, and her inability to tolerate it foreshadows her increasing inability to tolerate reality as well. Blanche describes being in love with Allan Gray as having the world suddenly revealed by a blinding, vivid light. Since his suicide, the bright light has been missing—â€Å"And then the searchlight whi ch had been turned on the world was turned off again and never for one moment since has there been any light stronger than this kitchen candle (68)†¦Ã¢â‚¬  The bright light reflects Blanche’s greater acceptance of reality back then, as well as her youthful sexual innocence. In the aftermath of Allan’s death, she has experienced only dim light through inconsequential sexual affairs with other men, which represents her sexual maturity and disillusionment.These sexual experiences have made Blanche an increasingly hysterical woman, and her frequent need to bathe herself is another form of employing fantasy, in that they symbolically cleanse Blanche of her illicit past. Just as she can never fully erase or recreate the past, Blanche’s bathing is never finished. This use of water to undo a misdeed is turned upon Stanley as well, whose violent temper is soothed by the shower after he beats Stella, rendering him remorseful and longing for his wife. However, St anley’s use of water doesn’t serve to alter reality to the same extent. This disparity in usage is seen in their use of alcohol as well. Stanley and Blanche both drink excessively in the play, though Stanley’s drinking is social and Blanche’s is antisocial. Blanche drinks on the sly in order to withdraw from reality, and her drunken stupors allow her imagination to take flight, e.g. concocting fantasies of escaping with Shep Huntleigh. While Stanley can rebound from his drunken escapades, Blanche further deludes herself and sinks into greater departures from sanity. Williams dramatizes fantasy’s inability to overcome reality through the antagonistic relationship between Stanley and Blanche, which is symbolic of the overarching struggle between appearances and reality. This struggle drives the plot, and establishes a tension that is ultimately resolved with Blanche’s failure to recreate her own and Stella’s existences. Stanleyâ⠂¬â„¢s disdain of Blanche’s fabrications stem from being a practical man firmly grounded in the physical world, and he does everything he can to unravel her lies. However, one soon realizes Blanche and her fantasies are one and the same—the more Stanley succeeds at unraveling her made-up world, the more he unravels Blanche herself—ultimately to insanity. As Blanche gradually fails at rejuvenating her own life and saving Stella from a life with Stanley, her nerves make her increasingly hysterical over the more minor upsets, and the smallest of setbacks seems insurmountable. It is interesting to note that her final struggle with Stanley is also a physical one in which he rapes her, causing Blanche to retreat entirely into her own world. Whereas she originally colors her perception of reality according to her wishes, at this point in the play, Blanche ignores reality altogether. The play also explores the boundary between the exterior and interior through use of the set. The flexible set allows the surrounding street to be seen at the same time as the interior of the Kowalski apartment, expressing the notion that the home is not a domestic sanctuary. Blanche cannot escape from her past in Stella and Stanley’s home because it is not a self-defined world, impermeable to greater reality. The characters often bring into the apartment issues and problems encountered in the larger environment, such as Blanche bringing her prejudices against the working class. The back wall of the apartment also becomes transparent at various points in the play to show what is happening on the street. A notable instance of this is just before Stanley rapes Blanche, and the struggles on the street are shown to foreshadow the violation about to occur within the home. Although reality ultimately triumphs over fantasy in Streetcar, Williams suggests through Blanche’s final, deluded happiness, that fantasy is an important and useful tool, a vita l force which colors every individual experience, despite the inevitable triumph of objective reality. At the end of the play, Blanche’s retreat into her own private fantasies enables her to partially shield herself from reality’s harsh blows. Her sensitive nature is seen in her reproach to Mitch, â€Å"I thanked God for you, because you seemed to be gentle—a cleft in the rock of the world that I could hide in (85)!† To Blanche, the world is hard, cold, and unfriendly like the rock, and she is unable to face its indifference directly. Blanche’s insanity emerges as she retreats fully into herself, leaving the objective world behind in order to avoid accepting reality. In order to escape fully, Blanche must come to perceive the exterior world as that which she imagines in her mind. When Mitch accuses Blanche of lying to him toward the end, she answers, â€Å"Never inside. I didn’t lie in my heart (85).† Thus, objective reality is not an antidote to Blanche’s fantasy world; rather, Blanche adapts the exterior world to fit her delusions.In Scene Seven, Blanche sings the popular ballad, â€Å"It’s Only a Paper Moon,† while she bathes. The lyrics of the song reflect Blanche’s fantastical understanding of herself and her approach to life: â€Å"Its a Barnum and Bailey worldJust as phony as it can beBut it wouldnt be make-believeIf you believed in me.† Similarly, Blanche views her fibs as harmless and as a means of enjoying a better way of life, requiring only her object of devotion to believe in this imagined reality as well. Williams ironically juxtaposes her bathroom singing with Stanley’s revelation of her sexually corrupt past to Stella in the room outside. Here, even within the domestic set, these fantasies cannot be compartmentalized effectively. Though the bathroom houses a temporary reprieve from reality, the boundary between fantasy and reality is essential ly permeable on all levels—in both the physical and psychological realms, between the apartment and the street, and within the two-room apartment as well. While fantasy and theatricality begin with Blanche, they do not end with her departure in the play. As Blanche leaves with the doctor, Stella is still living in denial. â€Å"I couldn’t believe her story and go on living with Stanley!† she tells Eunice beforehand. Stella chooses to live with herself and Stanley by telling herself a much greater lie than any ever concocted by her sister. The necessity of fantasy in handling reality is reinforced a final time, as Eunice assures Stella, â€Å"Don’t you ever believe it. You’ve got to keep on goin’, honey. No matter what happens, we’ve all got to keep on going.†

The Use of Trickery, A Theme in the Novel The Life of...

Some people deceive others into doing their bidding for them, while others trick for the jokes that come out of it; however, some may claim the need to trick is a requirement to survive. In Frederick Douglass’s Narrative in the Life of Frederick Douglass, Douglass utilizes the ability to play the game of trickery to convey his journey to freedom. Through the use of anecdotes, appeal to pathos, and figurative language, Douglass expresses the necessity of slaves to play the game of trickery to survive in the world of tricksters. Douglass employs the use of anecdotes to clarify why he would deceive others. After Mrs. Auld’s transformation, Douglass resorts to â€Å"various stratagems† (22) to learn to read and write. In some sense, Douglass†¦show more content†¦Humans need nourishment to survive; if they do not get their nourishment, they will suffer fatigue, and although the slaves do not get enough food, Douglass and the three other slaves in the kitchen receive only â€Å"half a bushel of corn-meal per week† (31), which is not much, justifying Douglass’s ploy with his master’s horse. Lastly, Douglass employs the anecdote about Sandy’s root and the fight with Convey to explain the slave’s survival in the world of trickery. Douglass receives a root from Sandy Jenkins which requires carrying â€Å"always on†¦ [the] right side† (42) to prevent from being whipped by a â€Å"white man.† Though Douglass is skeptical and believes Sandy is a charlatan at first, Douglass accepted the gift. To test if the root truly performs its duty, Douglass and Mr. Convey commenced a fight. Mr. Convey’s â€Å"courage quailed† when Douglass fights back. No one disturbs the two hour fight between the workers at Mr. Convey’s farm, including Bill, a hired worker. Since no harm came to him during the fight, Douglass believes in the powers of the root; this action of trickery leads to Douglass’s survival in a trickster’s world. By exploiting Mr. Convey’s game at which he plays, claiming none could deceive him, Douglass is able to counter Mr. Convey, beating him at the game of trickery. Douglass recounts the anecdotes of his life to communicate the importance of hoaxing

Essay on Brave New World-Allusions - 1337 Words

Allusions to the Brave New World 1. Ford Henry Ford (1863-1947) revolutionized the automobile industry with the assembly line method of production, which proved very successful for 15 million Model Ts were sold. Humans were similarly produced in the Brave New World where the embryos passed along a conveyor belt while a worker or machine would have a specific task dealing with the specimen. Again, this assembly line method proved very successful. 2. Lenina Vladmir Lenin (1870-1924) founded the communist party in Russia and the worlds first communist dictatorship. He believed in Karl Marxs theories that government is affected by underlying economic forces. Lenins dictatorship resembles that of Mustapha Mond for both of them†¦show more content†¦11. Watson John Broadus Watson (1878-1958) was an American psychologist who became the leader of a revolutionary movement called behaviorism. He studied innate behaviors and experimented on it. The people, in the BNW, had their behaviors controlled through experiments from when they were small. Without his theories, Huxley couldnt have completed his novel. 12. Marx Karl Marx (1818-1883) was a German philosopher, social scientist, and a revolutionary professional. Above all, however, he was the chief founder of Democratic Socialism and Revolutionary Communism. He was also famous for writing the Communist Manifesto and Das Kapital. He wrote with Engles. Marxs communism government structure was practiced in the ‘civilized world. Caste systems were present, everyone worked for the nations sake, and an elite controlled the whole civilization. 13. Engles Fredrich Engles (1820-1895) was a German social scientist, journalist, and professional revolutionary. He was chiefly known for his close collaboration with Marx. He helped Marx with ideas on economics and with his writings. His communist beliefs took effect in the BNW in the concept that everyone is enslaved to the civilization and that there is complete equality in each caste. 14. Noble Savage The Noble Savage was the concept of a superior primitive man uncorrupted by civilization who lives under just and reasonable laws. In the book, John Savage was an unfetteredShow MoreRelatedAllusion, And Logos In Aldous Huxleys Brave New World762 Words   |  4 Pagesthe novel, Brave New World by Aldous Huxley, Huxley includes allusion, ethos, and pathos to mock the wrongdoings of the people which causes physical and mental destruction in the society as a whole. The things that happened in the 1930’s plays a big contribution to the things that go on in the novel. The real world can never be looked at as a perfect place because that isnt possible. In this novel, Huxley informs us on how real life situations look in his eyes in a nonfictional world filled withRead MoreAllusions in Brave New World1665 Words   |  7 PagesNot only did he change how automobiles were manufactured, he changed the way people thought about technology. He made new technologies readily accessible and set the standard for the 20th century. In Aldous Huxley’s Brave New World, Huxley makes Ford the center-point for why the new society was created, the old one was un-happy and inefficient. Replacing God with Ford, Brave New World, showcases how Ford’s ideas could have been implemented. 2. Vladimir Lenin was the first person to make a countryRead More Allusions to the Brave New World Essays1308 Words   |  6 Pages Allusions to the Brave New World 1. Ford Henry Ford (1863-1947) revolutionized the automobile industry with the assembly line method of production, which proved very successful for 15 million Model Ts were sold. 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Mr. Fredrick. Advanced English 9 - 7. February 8,999 Words   |  4 Pageslife of Aldous Huxley, he portrayed many of his problems in Brave New World. Huxley wrote a work that not only made the reader look upon Huxley’s time, but also make them look at their own and make a connection to see if the reader had similar problems still occurring. Literary devices such as characterization and allusions were used by Huxley to give the reader an idea of what was occurring in Huxley’s lifetime. Throughout Brave New World Huxley expressed three main problems: religion, the roleR ead MoreAldous Huxley s Brave New World1334 Words   |  6 Pageso read Aldous Huxley’s Brave New World is to understand the fear for the future during the 1930’s. Widely considered ahead of its time, Brave New World is one of the most influential novels regarding the destructive outcome of genetic and public manipulation through regime control. The story contrasts two worlds: the traditional world where the â€Å"savages† reside and the new World State: a negative utopia where unrestrained sexual freedom, reproductive technology, and mind numbing drugs run rampantRead MoreAnalysis Of Aldous Huxley s Brave New World 1250 Words   |  5 PagesAldous Huxley published a Brave New World in 1932 in which he depicts a society in which babies are born in bottles, the concept of an individual cell does not matter as people do not believe in intimacy, science is used as a form of control, subjugation and conditioning, and drugs as well as sex are forms of escaping the horrors of reality. Or as Laurence Brander (1970) put it, â€Å"Affection and loyalty are unnecessary, beauty is a synthetic product, truth is arranged in a test tube, hope is supplied

A Pair Of Star

A Pair Of Star-crossed Lovers, Romeo And Juliet. From The Opening Scen Essay A pair of star-crossed lovers, Romeo and Juliet. From the opening scenes of the play these two children of feuding families were destined to fall in love together and eventually die together. How does the reader see this? How do we know it was fate which triggered these events? Coincidence caused the death of these two lovers. For this reason Romeo and Juliet is one of Shakespeares great tragedies. For coincidence to have caused the death of Romeo and Juliet it must have been evident in the events leading up to their deaths. These events include their meeting and falling in love, their separation, their reunion and finally their suicides. Solving the ancient feud between their families was the only real result of these untimely deaths. How did Romeo and Juliet meet? Was it by fate or could it have been avoided? Romeo and Juliet could not have avoided coming in contact with each other, they were brought together by uncontrollable circumstances. In Romeo and Juliets time Verona (a city in Italy approximately 100 km west of Venice) was a fair sized city, and bumping into an acquaintance was unlikely. During the course of Act I, Scene II, the contrary had happened, and happened by chance. As Romeo and Benvolio were nearing a public area they were stopped by a Capulet servant. After Romeo had read the guest list to the Capulet party and the servant was on his way, Benvolio suggested that to relieve himself of his sadness for Rosaline, Romeo should go to the party and compare Rosaline to the other female guests. Romeo agreed Another example of coincidence is evident here. If Rosaline had not been attending, Benvolio would not have thought anything of the party. During the Capulets ball Romeo and Juliet had seen each other, once this happened, there was no force that could have stopped them from falling in love. The encounter with the servant in the city set off an unlikely chain of events. Given the information following, none of these events could have been altered or avoided . And for that offense immediately we do exile him hence, (Romeo and Juliet, III, II, 191-192). Romeos banishment and the fate involved with it is a prime factor in the deaths of Romeo and Juliet. Why banishment? In Act I, Scene I the Princes words were quite the contrary. Was it intentional that a man of such high standard would go back on his word? Perhaps. Romeos exile poisons all possibility of happiness for himself and Juliet. His exile causes Juliet great sorrow, greater then if he had been executed, as stated by Juliet in Act III, Scene II, lines 130-131. Juliets sorrow drives her to obtain a knockout potion from Friar Laurence which, in effect causes Romeo to make some important decisions regarding his well being. Romeos banishment (brought about by the death of Tybalt) initiated the Friars scheme which eventually leads the two lovers to their deaths. In reuniting the two lovers, timing played the largest role in deciding if they would live or die. Friar Laurence had two chances to deliver the message to Romeo regarding Juliets present state. The first and most practical method of sending this message was through Romeos man, Balthasar. The second method was to send the message with Friar John. Timing was an important factor in both of these events. Friar Laurence had missed his opportunity to send the message with Balthasar and reverted to sending it with Friar John. As fate would have it, Friar John was locked up in a condemned house because of the plague. As a result Romeo received incorrect information. The only information he received from the unsuspecting Balthasar was that Juliet was dead. There are two important points to note in this area of the play. One being the reference to star-crossing made by Romeo when he heard of Juliets death. Is it even so? then I defy you, stars. (Romeo and Juliet, V, I, 24). The second being that when Romeo received the poison he states Come cordial, and not poison, go with thee. (Romeo and Juliet, V, I, 85). This is coincidental to what Juliet had said earlier, in Act IV, Scene III, when she drinks to Romeo. Cordial means hearty, or sincere. When someone drinks to someone else it is usually in good health. The reuniting of the two lovers in such circumstances (Romeos unawareness) could only have happened as it did by timing. One could ask what if the friar had left early?, or what if the friar had caught Balthasar and given him the message? Because of bad timing neither happened. Coincidence is a controlling element regarding the deaths of Romeo and Juliet, more so than in other areas of the play. The following examples also deal with close-calls, which involve timing as well as coincidence After Romeo had slew Paris and entered the tomb and found Juliets seemingly dead body, he uttered some interesting words. Death that hath sucked the honey of thy breath, hath had no power yet upon thy beauty. Thou art not conquered; beautys ensign yet is crimson in thy lips and cheeks. (Romeo a nd Juliet, V, III, 92-95.). Here Romeo is saying how alive Juliet looks. All he had to do was touch her and she may have been awakened and the play would have ended without a tragic closing. As Romeo drank the apothecaries mixture he drank to Juliet, as she had done before in Act IV, Scene III. This minor coincidence does not have much bearing on the course of the play, but changes the way we think of toasting to someone. Friar Laurence entered the tomb just less than half an hour after Romeo had killed himself. If the Friar had entered the tomb earlier he could have explained the situation to Romeo and no harm would have come to anyone. The Friar has proved himself to be a brave man. He married Romeo and Juliet without the consent of Juliets father. Then why did the friar behave out of character and leave the tomb when he heard the call of the watch. This gave Juliet the opportunity to get hold of Romeos well placed dagger (coincidence?) and kill herself. If the Friar had not fled he would have convinced Juliet not to kill herself as he did with Romeo in Act III, Scene III. To prove Romeo and Juliet to be a tragedy we must first prove that the death of the two lovers was caused by circumstances outside of their control or more simply, by destiny. The events which lead up to Romeo and Juliets death are all inter-related. If any of the events were absent from the list, the following events could not of happened. The list, as mentioned before is as follows; meeting, separation, reunion, and their suicides. Romeo and Juliets meeting has been proved to be by coincidence. If Romeo and Benvolio had not bumped into the Capulet servant the events would not have unfolded in the way they did. Romeo and Juliet had been separated because Prince Escalus had ordered it, what makes this unusual is that in Act I, Scene I, the Princes warning indicated that further violent confrontations would result in death. Romeo did not receive the message from the Friar in Act V, Scene I, because of coincidence. If he had received the message, the Friars scheme would have gone as planned. Coincidence is exceedingly evident when Romeo enters the tomb to die with Juliet as proven earlier. As the coincidences in the novel build up, the readers idea of reality changes, and enables Shakespeare create one of his greatest tragedies, Romeo and Juliet. .u4d79f9126680f6b1eaccfb72aefdfd10 , .u4d79f9126680f6b1eaccfb72aefdfd10 .postImageUrl , .u4d79f9126680f6b1eaccfb72aefdfd10 .centered-text-area { min-height: 80px; position: relative; } .u4d79f9126680f6b1eaccfb72aefdfd10 , .u4d79f9126680f6b1eaccfb72aefdfd10:hover , .u4d79f9126680f6b1eaccfb72aefdfd10:visited , .u4d79f9126680f6b1eaccfb72aefdfd10:active { border:0!important; } .u4d79f9126680f6b1eaccfb72aefdfd10 .clearfix:after { content: ""; display: table; clear: both; } .u4d79f9126680f6b1eaccfb72aefdfd10 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4d79f9126680f6b1eaccfb72aefdfd10:active , .u4d79f9126680f6b1eaccfb72aefdfd10:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4d79f9126680f6b1eaccfb72aefdfd10 .centered-text-area { width: 100%; position: relative ; } .u4d79f9126680f6b1eaccfb72aefdfd10 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4d79f9126680f6b1eaccfb72aefdfd10 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4d79f9126680f6b1eaccfb72aefdfd10 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4d79f9126680f6b1eaccfb72aefdfd10:hover .ctaButton { background-color: #34495E!important; } .u4d79f9126680f6b1eaccfb72aefdfd10 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4d79f9126680f6b1eaccfb72aefdfd10 .u4d79f9126680f6b1eaccfb72aefdfd10-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4d79f9126680f6b1eaccfb72aefdfd10:after { content: ""; display: block; clear: both; } READ: Who's For The Game?   Essay We will write a custom essay on A Pair Of Star-crossed Lovers, Romeo And Juliet. 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THE MASSACRE AT PARIS Essay Example For Students

THE MASSACRE AT PARIS Essay A monologue from the play by Christopher Marlowe NOTE: This monologue is reprinted from Masterpieces of the English Drama. Ed. William Lyon Phelps. New York: American Book Company, 1912. DUKE OF GUISE: Now, Guise, begin those deep-engenderd thoughtsTo burst abroad those never-dying flamesWhich cannot be extinguished but by blood.Oft have I levelld, and at last have learndThat peril is the chiefest way to happiness,And resolution honours fairest aim.What glory is there in a common good,That hangs for every peasant to achieve?That like I best, that flies beyond my reach.Set me to scale the high Pyramides,And thereon set the diadem of France;Ill either rend it with my nails to naught,Or mount the top with my aspiring wings,Although my downfall be the deepest hell.For this I wake, when others think I sleep;For this I wait, that scorn attendance else;For this, my quenchless thirst, whereon I build,Hath often pleaded kindred to the king;For this, this head, this heart, this hand, and sword,Contrives, imagines, and fully executes,Matters of import aimed at by many,Yet understood by none;For this, hath heaven engenderd me of earth;For this, this earth sustains my bodys weigh t,And with this weight Ill counterpoise a crown,Or with seditions weary all the world;For this, from Spain the stately CatholicsSend Indian gold to coin me French ecues;For this, have I a largess from the Pope,A pension, and a dispensation too;And by that privilege to work upon,My policy hath framd religion.Religion! O Diabole!Fie, I am ashamd, however that I seem,To think a word of such a simple sound,Of so great matter should be made the ground!The gentle king, whose pleasure uncontrolldWeakeneth his body, and will waste his realm,If I repair not what he ruinates,Him, as a child, I daily win with words,So that for proof he barely bears the name;I execute, and he sustains the blame.The Mother-Queen works wonders for my sake,And in my love entombs the hope of France,Rifling the bowels of her treasury,To supply my wants and necessity.Paris hath full five hundred colleges,As monasteries, priories, abbeys, and halls,Wherein are thirty thousand able men,Besides a thousand sturdy student Catholics;And more,of my knowledge, in one cloister keepFive hundred fat Franciscan friars and priests:All this, and more, if more may be comprisd,To bring the will of our desires to end.Then, Guise,Since thou hast all the cards within thy hands,To shuffle or cut, take this as surest thing,That, right or wrong, thou deal thyself a king. We will write a custom essay on THE MASSACRE AT PARIS specifically for you for only $16.38 $13.9/page Order now