Human body

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Analysis of Lady Macbeth.

Lady Macbeth is one of the most complex characters that Shakespeare has ever written and there are many aspects to the way Lady Macbeth thinks, is thought of and of her demeanour.

The first time we meet Lady Macbeth in 1,5. She is speaking the words of her husband through his letter to her after Macbeth has met the witches. The letter informs of the encounter and Lady Macbeth is told to keep the letter secret when the letter says, 'Lay it to thy heart.' The solitude of Lady Macbeth allows us to hear and observe her true feelings. She automatically fears that Macbeth is, 'too full of the milk o' the milk of human kindness,' to carry out the task. As soon as she reads her husband's letter she doubts his ability to perform the task. Once hearing of the coming of Duncan, she talks of how the 'raven himself is horse/ That croaks the fatal entrance of Duncan/ Under my battlements.' This shows that she is using terms associated with the devil or darkness and the word battlements implies a warlike effect. Lady Macbeth then goes on to call upon the devil and asks him to, make thick my blood,' and to 'unsex me here.' This is because Lady Macbeth feels that her femininity will hinder her in completing the task at hand, but if she is of neither sex then she may be able to have the ability and bravery to overcome guilt and any other emotions that she may feel as a woman. At points lady Macbeth also feels that she is lacking in power. In this case she attempts to assume the powers of the witches in her constant questioning and ordering of Macbeth, 'As thou art in desire?' This fits in nicely because it shows well the reversal in power in these four cases it shows the women having the power. As the three witches have total control of everything happening and Lady Macbeth has considerable control over Macbeth at many points in the play. The point of power is also a key issue with Lady Macbeth. As the wife of Macbeth, Lady Macbeth has very little power, but all her power is concentrated around the house. There is now a glimmer of hope for real power as Queen of Scotland. She wants to seize this opportunity. She also feels that she has the power over Macbeth's decisions, which to some extent she does with all the questioning and pushing. Lady Macbeth's powerlessness drives her to be associated with power and therefore is desperate for Macbeth to become King.

This brings on the issue of gender. From the start of the play lady Macbeth is heard to be speaking a man's words. She requests to be unsexed by the devil, in other words to be made into a neuter almost as if to rid herself of all the things that make her female. She probably feels that all her female values are stopping her from getting the power she needs. Lady Macbeth is prepared and has deeply thought about the news as she was told to, ' Lay/ it to thy heart, and farewell.' when Macbeth arrives at the castle, whereas Macbeth is lagging in the motivation and clarity that is required to proceed, 'in this business.' Macbeth is then given serious questioning by his wife. As she does at many other points in the play, in her attempts to persuade her husband to kill the king, 'Was the hope drunk,/ Wherein you dress'd yourself, hath it slept since, And wakes it now, to look so green and pale, /At what it did so freely?'. Then to force Macbeth to pull himself together, she uses demeaning questions for example at the banquet, 'Are you a man?' thus also once again usurps Macbeth's manhood.

Lady Macbeth also shows signs of being very quick minded. The key moment when she switches the attention to protect Macbeth is when Duncan is discovered to be murdered. Lady Macbeth a little while after hearing the news and having heard Macbeth begins to make himself look suspicious by confusing his story slightly, 'That I did kill them,'. This was when Macbeth told the other nobles about how he had killed the guards who had supposedly murdered Duncan. Lady Macbeth knew that this would seem impossible if Macbeth had only just found out about the murder and so pretends to faint, thus drawing the attention away from Macbeth and onto her. This shows Lady Macbeth to be very devious, and quick minded, as she has thought of this within a matter of seconds. It also shows us that the character of Lady Macbeth is a very good actress.

Later on in the play, Lady Macbeth starts to feel very insecure about both of their positions, ''Tis safer to be that which we destroy/Than by destruction dwell in doubtful joy.' Lady Macbeth then begins to scold her husband for having the same fears that she has. Again referring to the issue of gender and how she feels that as a woman she is allowed these fears, 'Using those thoughts which should indeed have/ died,' whereas Macbeth, as the strong male should be able to deal with these fears. At this point in the play Lady Macbeth has begun to have nightmares, as had Macbeth, which is where there is a new reversal of roles. As Macbeth realises his problems he begins regain his mental strength and become the 'man' again and Lady Macbeth begins to act in the more female manner. Macbeth realises that he has to get rid of Banquo, and Lady Macbeth has to try and protect herself from her own subconscious. This is shown when she wakes up in the middle of the night and sleep walks. For the first time in the play Lady Macbeth is shown to be weak minded. She now begins to take on the 'normal' female characteristics. The effects of the murder now only just start to show on Lady Macbeth, as she is paranoid about the murder and the little red spots of blood which she thinks are on her hands, which she had earlier dismissed of by saying, 'a little water clears us of this deed.' It is as if Lady Macbeth's suppressed subconscious has overflowed and is now pouring over in her sleep and she can no longer control it for the strength of Macbeth. Lady Macbeth is attempting to replay the scene of when Duncan was murdered. With no control over what is going on there is almost a direst swap because throughout the play she has been in total control of what was happening.

These are the characteristics of Lady Macbeth and they show us about the relationship between husband and wife, and of how in the struggle for power the relationship breaks down, due to the power hunger of Lady Macbeth many deaths are caused through lies and deceit.

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Supernatural in Richard 111

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Richard III

Analyse the purpose and effect of the dreams and prophecies in Shakespeare's Richard III.

As with many of Shakespeare's plays dreams, superstitions and prophecies play a large part in the play Richard III. This play was written in the Elizabethan period, which was a time when most, if not all people were very conscious and superstitious of their dreams. They often used their dreams as a guide of what they thought was going to occur in their future. So they constantly analysed and read a great deal in to the dreams they had, so that they could be prepared for what was to come.

So what are the real purpose and effects of the dreams and prophecies in this play?

Many of these dreams and prophecies were actually a warning to the characters in the play, in their dreams they actually envisaged their fates! Even though the Elizabethans believed in dreams so greatly why don't these men realise and take notice of what they were warned against? In some of the dreams events were revealed to us concerning particular characters, such as Clarence who we would not necessarily be aware of, if this dream had not taken place.

Whilst Clarence awaited execution in the tower his dream explains to the audience that he actually committed the murder of Ann's late husband, and that it was not actually Richard who we were previously led to believe it to be.

Evidence …. My Great-Father in law, renowned Warwick….

Clarence…. That stabbed me in the field of Tewksbury….

Personally I think that the dreams and prophecies are actually a dramatic device for the benefit of the audience. The dreams help to get them ready for what is going to follow later in the play. They drive the action leaving the audience in anticipation and suspense, waiting and trying to predict when the characters will meet their fate.

The dreams and prophecies in the play also reinforce the need for male authority and divide the two sexes (which was not uncommon in the society of the Elizabethans). It is apparent that Shakespeare only gives the dreams to the men in the play, the only woman who actually plays a part in the dreams and prophecies, is Margaret. Because of this she is portrayed as being involved with witchcraft and the supernatural, therefore not a woman but a witch! This is because all of the curses she lays on Richard do actually come true. Margaret continuously curses and damns Richard throughout the play. When Margaret does so, her language and tone is very important because it is very witch like and when you read it, this sounds like she is actually casting a spell on Richard.

Evidence Margaret to Richard; …. No sleep close up that deadly eye of thine, unless it be while some tormenting dream affrights thee with hell of ugly devils.

After Margaret curses Richard, we find out from Anne that Richard is a very bad sleeper and if he does manage to fall asleep he is violently woken by terrifying nightmares and torturous demons!

Evidence Anne; …For never yet one hour in his bed did I enjoy the golden dew of sleep, but with this timorous dreams was still awak'd.

The dreams and prophecies in the play also have a great effect on the audience and characters during the play, which are very closely related to the purpose of the dreams and prophecies of the play! All of the dreams in the play are a dramatic device so that the audience feel involved in the play and they have a sense of pantomime. Knowing about the dreams and events to come throughout the play, the audience would be left in suspense sitting on the edge of their seats during the play, trying to guess when the next murder will occur because they are very aware of what is happening whereas the characters seem oblivious!

The only character in play that is aware of the danger he is about to face is Hastings! He has a tormenting dream of being slaughtered, having his head removed although, he does not take any action to try and stop this horrid event occurring, he is well prepared and conscious of what he is to face! I believe that this makes the audience more sympathetic towards Hastings as he endures torment about the way he will die right up until his dreadful execution!

Evidence …And started when he looked upon the tower, as loath to bear me to the slaughterhouse. …O Margaret, Margaret, now thy heavy curse is lighed on poor Hastings' wretched head!

A large device that is used in the dreams is that of imagery. In all of the dreams there is always horrible and negative imagery which makes the audience imagines the dreams that the characters have had and really think about the reasons behind those images! For example the imagery used in Clarence's dream, is very unpleasant (as with all of the imagery in the play). The audience is encouraged to imagine deep murky water with dead corpses floating about at the bottom! The corpses are particularly important since they are of those who have died by the hand of Richard. This should automatically make the audience think that Clarence should be the next victim to die by Richards's hand. The meaning behind dreaming of water is very significant to this part of the play. It is said that if a person dreams of water that, they are submerged in then they may be subject to misfortune, death and problems with friends or family. As we know from the play this is actually very close to what happens to Clarence.

When Clarence is in the tower and the two murderers arrive to execute him, Clarence asks them if he can have a drink of wine. This is where the irony comes in to it because the keeper tells Clarence that he will have plenty of wine, just before he tells him that he shall be drowned in it. This relates to Clarence's dream of drowning! If Clarence had taken any notice of his dream then he would have realised that he was probably coming close to his death.

Evidence Where art thou keeper? Give me a glass of wine.

You shall have wine enough my lord, I'll drown you in the malmsey-butt within.

Another good example of imagery in the dreams is found in the dream that Stanley has. He dreams of an animal (a boar) attacking him in the side, which is thought of as being violent and aggressive, this instantly puts unpleasant images in to our minds! If this dream is read in to deeper you realise that this is a very clever device that Shakespeare has used. Therefore, those in the audience who know about Richard's history would know that the boar is actually Richard's symbol. He used this symbol when he was battling in the war of the roses against the house of Lancaster (which Richmond was actually a part of).

If Stanley had not been foolish like the other men in the play then he should have realised that Richard was actually going to be a threat against him and he should have been very cautious when dealing with Richard!

Evidence Hastings; Cannot my lord Stanley sleep these tedious nights?

…And for his dreams, I wonder he's so simple to trust the mockery of unquiet slumber. To fly the boar before the boar purses were to incense the boar to follow us,

… and we will both together to the tower, where he shall see the boar will use us kingly.

I have also researched the true meaning behind dreaming about boars, I have found that if a man dreams about being attacked or bitten by a boar then they should be on there guard against a false friend. This piece of information is particularly relevant to my essay because that is exactly what Stanley should have been aware of from the beginning of all of the turmoil with Richard.

A clever prophecy that is also used regarding a death in the tower is a very innocent one. The prophecy is a warning to Richard from the younger of the two little princes. Richard tells them that they must stay in the tower so that they are safe! The prince tells Richard that he does not want to stay in the tower for the fear that he will see Clarence's angry ghost.

Evidence I shall not sleep in quiet at the tower.

Why what should you fear?

Marry my uncle Clarence' angry ghost- my grandam told me he was murdered there.

I feel that this is a significant piece in the play because although Clarence's angry ghost does not turn up in the tower he does turn up in a nightmare that Richard has at the very end of the play. It was almost as if this little child new that Clarence was not happy and would come back to haunt a character, (most likely to be Richard!) Richards's nightmare was also a prophecy this is because he is visited by all of the ghosts of those people that he has killed. The purpose of this dream is that the ghosts are able to warn Richard that he will not win that battle against Richmond the following day as they will all be on the side of Richmond! This dream leaves Richard tormented and frightened, so frightened in fact that he tells Ratcliffe of his anguish.

Clarence's ghost to Richard Let me sit heavy in thy soul tomorrow- I that washed to death with fulsome wine, poor Clarence by thy guile betrayed to death!

Tomorrow in the battle think on me, and fall thy edgeless sword; despair and die!

Clarence to Richmond ....Good angles guard thy battle! Live and flourish!

Evidence O Ratcliffe I have had a fearful dream!

The nightmare that Richard has before the battle is also evidence that Margaret's prophecy would torture him until he died. The purpose of this particular dream was to give the play and Richard a sense of morality concerning all of the bad deeds that Richard has been involved in or responsible for. For me I thought that Richard had actually become aware of the conscience that he should have, (after all he is human) Including this dream in the play makes the audience realise that during the battle, Richard will not die the death of a brave man, but he shall die the death of what he truly is, a murderer!

An important example of a prophecy in the play is the very first one that we as an audience are informed of. The prophecy is that of the letter G, which concerns Richard telling Edward that a wizard told him he would have great heartache caused to him by a person with the name beginning with the letter G.

Evidence He harkens after prophecies and dreams and by the letter G his issue disinherited shall be.

Meaning that his heirs to the throne are in terrible danger, from a person with name the letter G.

And of course the play would not be as effective if Edward did not jump straight to entirely the wrong conclusion! This resulting in his dear brother killed for something that he did not do and would never even dream of doing.

This prophecy is extremely ironic because the person that did actually kill the boys or at least have them killed was Richard him self. The irony is that Richard's bestowed name is Duke of Gloucester, which would explain why he told Edward that they would be killed by someone with the name letter G. It would seem almost as if Richard is playing a game with Edward. This gives us a glimpse of what Richard develops in to, a dark, sinister humorous character.

I believe that the dreams and prophecies in the play are actually a reflection of the play itself, full of horrible, disturbing imagery surrounded by people who are all devious and hate each other! The overall effect and purpose of the dreams and prophecies is to get the audience involved and give the characters parts, a good pace and sense of action, as the dreams are strategically placed in appropriate intervals throughout the play.

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Darkness

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Theme and Setting in Heart of Darkness

Heart of Darkness is a novella that is one story being told by Marlow within the actual story by Joseph Conrad. The novella is set on a boat, the Nellie, on the Thames river in England, but the story that Marlow tells is set in the Belgian Congo. When relating the theme of this novella to the setting it has to be looked at from both the Thames and Congo rivers. Heart of Darkness shows the superiority of whites over blacks in a context where the blacks are considered to be savages and whites are supposed to be civilized.

Marlow is telling the story to his friends in the dark of night on the Thames river. As he begins the day is just ending in a serenity of still and exquisite brilliance. It is a very sombre and dull atmosphere and as the calmness begins to fade it becomes more profound. At one point Marlow stops and is interrupted by the unknown narrator who describes the setting on the Nellie. It had become so pitch dark that we listeners could hardly see one another. For a long time already he, sitting apart, had been no more to us than a voice....I listened, I listened on the watch for the sentence, for the word, that would give me the clew to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy nightair of the river.

As the story ends the setting on the Thames river is once again described by the unseen narrator. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky-seemed to lead into the heart of an immense darkness.

The superiority of whites over blacks in the novella faces the harsh reality that the whites are there not to colonize the Congo but to conquer it. As Marlow puts it They were no colonists; their administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that you want only brute force-nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at blind-as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into too much. (Marlow)

In the novella the blacks are described at one point as helpers but, they are not really, they are treated more like slaves. The white men are corrupt and greedy in the Congo, as Marlow states when he is first entering the Congo. Ive seen the devil of violence, and the devil of greed, and the devil of hot desire; but, by all the stars! These were strong, lusty, red-eyed devils that swayed and drove men-men, I tell you. But as I stood on this hillside, I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of a rapacious and pitiless folly. (Marlow)

The whites enter the jungle thinking it must be tamed and that its savage, dark natives must become civilized. The white man=s uneasy and disconcerted relations with the barbarism of Africa only makes things worse for the natives. The natives have a relationship with nature where things are still pure and innocent, where they are not exposed to the corruption of the civilized world. The white men conform some natives to live by rules and these natives help to enslave the others. This creates unhappiness and degradation of the blacks where they tend to retreat to the forest to die. Black shapes crouched, lay, sat between the trees leaning against the trunks, clinging to the earth, half coming out, half effaced within the dim light, in all the attitudes of pain, abandonment, and despair....And this was the place where some of the helpers had withdrawn to die.(Marlow)

The ivory trade in the Congo is very dark and obscure, no one really knows how Kurtz=s gets the ivory he does. Marlow describes Kurtz face just before his death I saw on that ivory face the expression of somber pride, of ruthless power, of craven terror-of an intense and hopeless despair. Both Kurtz and Marlow found a dark heart of Africa with primeval power that forced them to look at the darkness, hate, fear and evil within themselves. They saw that the white men were not really bringing progress to the darkest Africa but they were deteriorating their own morale

The blacks in Heart of Darkness have no personal traits or uniqueness, there is no humanity in their characters. Their appearance is never really described the only thing Marlow says about them is that they are black, no details, Black shapes...black bones...black neck,. But the whites in the novella are described in more detail such as the way Marlow describes the manager, Kurtz, and the girl. I met a white man, in such an unexpected elegance of get-up that in the first moment I took him for a sort of vision. I saw high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished bots. No hat. Hair parted, brushed, oiled, under a green-lined parasol held in a big white hand.(Marlow describing the manager)

As Marlow puts it the whites in the Congo are in a lightless region of subtle horror, where pure, uncomplicated savagery was a positive relief,. The white men have no escape from the darkness as Kurtz realized a he spoke his last words, The horror! The horror!, but the blacks can retreat back to their way of life of helpless savages instead of being unhappy slaves. The theme of Heart of Darkness is evil and mysterious, we never really know how the whites over power the blacks. The theme is very suited to the setting, both have the image of darkness. The theme and setting are a harsh reality in the Congo where everything is dark in some way, whether it be the darkness of the blacks skin, the dark evilness of the whites or the gloominess of the environment. The theme where the whites have supremacy over the blacks is evil and very dark goes along with the dull and dreary setting, neither has any life to it. The environment is dark and lifeless and the blacks have no freedom due to the manipulation by the whites men.

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Nurture by TKO

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The citizens of Deptford had many qualities, all of which were shaped by their atmosphere. Their village, portrayed by Robertson Davies in the novel Fifth Business, clearly illustrated the significant impact the town had on its subjects. The community was very conservative. Its' individuals were unwilling to accept changes and new ideas. Furthermore, Deptford was recognizably judgmental. They displayed a variety of prejudices and discriminatory mannerisms. Finally, the citizens were astoundingly helpful. They not only voluntarily but frequently assisted in each others' personal problems. Therefore, the collective personality of Deptford revolved around these three basic traits.

Without a doubt, Deptford's inhabitants were narrow minded. They favored traditional views and values. Those who did dare to introduce change were often ignored, abused, or even abandoned. It was when …Paul had picked…[money]…up from the table and caused them to vanish! Of course he had restored them…and after a beating and much prayer it had all come out about the cards and what…[Dunstan]… had taught him. (Davies 4) Amasa called…[the cards]…the Devil's picture-book (Davies 4) and decided that [Dunstan]…was never to set foot in his house again…nor to speak to any of his family, nor to dare to come near his son. (Davies 4) It was unfortunate and disappointing for Paul Dempster to lose the only friend he has ever had in the village. He was forced to stay at home and restricted from any social life whatsoever. As a result, he was distressed; and …when the circus was…[in Deptford]… he…[ran]…away with one of the shows. (Davies 107) And as for Dunstan, All that dim but glittering vision…[he]… had formed of Paris, with Robert-Houdin doing marvels to delight grand people, had been dragged down by…[Amasa Dempster]… (Davies 4) Most of the members of the community never stopped to think about some of the uptight views their town had. They followed everything they were taught without moral scrutiny. In Deptford, …it was not the custom…for pregnant women to show themselves boldly in the streets - not if they had a position to keep up. (Davies 10) Despite this etiquette, Mrs. Dempster was still seen in public while pregnant. Unfortunately, anyone who did not abide by these customs seemed to have lost the respect they deserved. The children of Deptford were brought up to inherit their parent's conventional panorama of life. Their upbringing resulted in them displaying characteristics held by their narrow minded parents. After the incident where Mrs. Dempster was hit by a snowball, Dunstan says I never heard married people - or any people - speak unashamedly loving words. (Davies 11) Dunstan's …parents always warned against scenes as very serious breaches of property. (Davies 11) This came to show that the people of Deptford continued to oppose innovation.

The townspeople were inclined to make moral or personal judgments. Their obvious willingness to criticize was revealed as they frequently discriminated against young Paul Dempster. Everyone knew Paul was not a village favorite, and the dislike so many people felt for his mother - dislike for the queer and persistently unfortunate - they attached to the unoffending son. (Davies 40) As a child, he never knew why he couldn't fit it; but when he got a little older he realized that the town's prejudice was what secluded him from all the other kids. Sometimes, jealousy was what triggered prejudgment in Deptford. Dunstan was envious of Boy's looks, but he knew they're …certainly not from cantankerous old Doc Staunton, with his walrus moustache and sagging paunch or from his mother, who was a charm less woman. (Davies 111) The shocking part of this is that it came directly from the mind of Dunstan, who was not usually discriminatory. Preconception is common throughout the whole village. It is a detrimental trait adopted through generations. The townspeople also seemed to judge for entertainment and laughter. After the incident in the gravel pit, where Mary slept with Surgeneor, Mrs. Dempster was often made fun of. Kids would often say to Paul Your Ma's a hoor. (Davies 106) This resulted in Paul losing respect for his mother, and it also gave Mary Dempster a bad reputation. Therefore, innocent citizens will continue to be victimized as long as this segregation and hate remains.

Finally, the members of the community constantly offered assistance in situations that presented

perplexity or difficulty. They provided a great deal of caring and hospitality towards one another. Even the people who were not village favorites always received aid when needed. When Mrs. Dempster was to give birth prematurely, the Ramsays were the first people to offer assistance. Mrs. Ramsay rushed into her house saying I'll probably be all night. Get me all the baby blankets out of the trunk and then go right down to Ruckle's and make him get you a big roll of cotton wool from the store. (Davies 1) Mrs. Ramsay's willingness to help was adopted by her son Dunstan, as he labeled himself an unofficial watchdog to the Dempster family. (Davies ) He was taking care of Mrs. Dempster after her birth, since she was not fully recovered yet. This has taught Dunstan responsibility. The citizens of Deptford showed regard for the needs of others when they gave Willie his daily baths. It is clear that …[Deptford]…had a kind heart, and practical help of this was what it understood best. (Davies 58). Even at times when it seemed unworthy and dishonorable, the townspeople still helped. When Mrs. Dempster moved and had little money, …a few people who could not bear to think of them in destitution mustered furniture for the new place, without letting it be too clearly who had done it. (Davies 50) Therefore, the town of Deptford was surrounded by kindness and warm courtesy.

In conclusion, the combined traits of Deptford have had a tremendous impact on it's people. Like every village, it had its' good and bad features. The stubbornness and ignorance of its' citizens have brought about traditionalism , preventing new innovations and principles. The town's ability to judge has caused a deep wound beyond repair. It will forever hurt the mortals of the village. However, the people's willingness to help one another would bring about friendship in the upcoming days of this town. Deptford was built upon these qualities, and they formed a resilient structure engrained in the minds of its citizens.

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Romeo and Juliet

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Romeo and Juliet

There are plenty of other unique characters in Romeo and Juliet than the pair of star-crossed lovers. Such as the prince, friar, or the nurse, who each has their own and different personalities. None of these characters have two same and identical personalities; each and every person is different from one another.

One of these characters whom plays an important role is Romeo's dad or Lord Montague. Lord Montague is very protective over his own people (the montagues). This can be supported when he saw the ferocious battle between the Capulets and Montagues. He said to his wife who forbid him to go, Thou not villain capulet hold me not; let me go. (I.i.81) Another of his characteristics is that he deeply cares about young Romeo, his beloved son. For when Romeo was drowned with sadness he said, many a morning hath he there been seen/with tears augmenting the mornings dew/adding to clouds more clouds with his deep sighs. (I.i.14-16) But as you may think, Lord Montague doesn't just care for his people. For when the two lovers laid lifeless at the end of this tragedy, he said to his old foe Lord Capulet, But I can give thee more/for I will ray her statue in pure gold/that whiles Verona by that name is known/there shall no figure a such rate be set/as that of faithful Juliet. (V.III.0-1)

Besides the two romantic lovers, another important character is Lord Capulet, Juliet's dad. Like Lord Montague, Lord Capulet is also very protective over his people. For when the fight started to brew on the streets of Verona, he demanded to stand up with his people. He said, what noise is this? Give me my long sword, ho! (I.i.76) And when he didn't receive his sword, he insulted Lord Montague by saying, my sword I say. Old Montague is come/and flourishes his blade in spite of me. (I.i.7-80) And just like Lord Montague, when their only child dies, Capulet expresses himself that he doesn't hate no more his past enemy by saying, O brother Montague, give me thy hand/this is my daughters jointure, for no more/can I demand. (V.III.06-08)

Benvolio is also a main character of the story. I consider him a very helpful person. For he was the one who urged Romeo to go to the party, where he met and fell in love with Juliet. He is also important in the story because he asked Romeo to see other women, and forget Rosaline who would never return back his love. Benvolio said,

At this same ancient feast of Capulets

Sups for the fair Rosaline whom thou so loves,

With all the admired beauties of Verona.

Go thither, and with unattained eye

Compare her face with some that I shall show

And I will make thee think thy swan a crow. (I.II.8-4)

And as helpful as Benvolio was, and to make Romeo more anxious to go, he then said,

Tut, you saw her fair, none else being by,

Herself poised with herself in either eye;

But in that crystal scales let there be weighed

Your lady's love against some other maid

That I will show you shining at this feast,

And she shall scant show well that now seems best. (I.II.101-106)

Then to encourage him more, he told Romeo that if he finds another woman, then Rosaline would seem like nothing. As he said, alas that love, so gentle in his view/should be so tyrannous and rough in roof. (I.i.174-175) So this all proves that Benvolio is a helpful person indeed.

Mercutio is loyal and obedient towards Romeo. For he stood up for Romeo when Tybalt was insulting Romeo. And just for that, the sword of Tybalt killed him. Even then, he was still as loyal as ever when he said he would still serve. He said, No, tis not so deep as a well, nor as wide as a church door, but tis enough. Twill serve/ask for me tomorrow, and you shall find me a grave man. (III.I.100-10) Mercutio is also a brave man, for when he was about to die he said, ay, ay a scratch, a scratch. Marry, tis enough. /Where is my page? Go, villain, fetch a surgeon. (III.I.7-8) Mercutio's bravery was shown when he was seriously wounded, but only cared that Tybalt be wounded as well. A plague o' both houses! I am sped/is he gone and hath nothing? (III.I.4-5)

The Friar, or Friar Lawrence also plays a key role in this tragedy of Romeo and Juliet. This is because he was the one who united the two deep lovers. He is a person who believes the two would stop the war between the two families. O, she knew well /Thy love did read by vote that could not spell /But, come young waverer, come, with me /In one respect I'll thy assistant be /For this alliance may so happy prove /To turn your house hold rancor to pure love. (II.III.4-) The friar is also a wise man, for he knew what would happen if the marriage went wrong. He said,

Those violent delights have violent ends

And their triumph die, like fire and powder,

Which as they kiss, consume. The sweetest honey

Is loathsome I his own deliciousness

And in the taste confounds the appetite.

Therefore love moderately. Long love doth so.

Too swift arrives as tardy as too slow. (II.VI.-15)

Other than being wise he is also very friendly and helpful. For when Juliet was to marry Paris, Friar Lawrence found a way to help her. He told her,

Take thou this vial, being then in bed,

And this distilling liquor drink thou off;

When presently through all thy veins shall run

A cold and drowsy humor; for no pulse

Shall keep this native progress, but surcease.

No warmth, no breath shall testify thou livest. (IV.I.5-100)

The prince is also an important character in this story. He is strict and is angry of the past fights of the Montagues and Capulets. The prince said after the battle,

Rebellious subjects, enemies to peace,

profaners of this neighbor-stained steel-

Will they not hear?What ho! You men you beasts,

On pain of torture, from those bloody hands

Throw your mistempered weapons to the ground,

And hear the sentence of your moved prince. (I.i.8-0)

The prince then shows his overridden temper by telling the two families their sentence. If you ever disturb our streets again/your lives shall pay the forfeit of the peace/For this time all the rest depart away. Although it may seem that the Prince is an insignificant person, really inside he's also a gentle and kind-hearted person who cares about others.

A glooming peace this morning with it brings.

The sun of sorrow will not show his head.

Go hence to have more talk of these sad things.

Some shall be pardoned, and some punished.

For never was a story more woe

Than this of Juliet and her Romeo. (V.III.6-1)

Now Romeo, you know that he's one of the main characters, for he is one of the two lovers. Romeo has a romantic figure and doesn't care more for anyone else than his one and true love, Juliet. To prove that his love for Juliet was stronger than the thought of death, he said, I have a night's cloak to hide me from their eyes/And, but thou love me, let them find me here/My life were better ended by their hate/Than death prorogued, waiting of thy love. (II.II.80-8) And as romantic as he was he said exquisitely, With love's light wings o'erperch these walls/ for stony limits cannot hold love out/And what love can do, that dares' love attempt/Therefore thy kinsmen are no stop to me. (II.II.71-74) But dearful Juliet isn't just the only one he cares about, as a matter a fact, he even has tender feelings for his own rival, Tybalt. This could be proved when he said, I do protest I never injure thee/But love thee better than thou canst devise/Till thou shall know the reason of my love/And so, good Capulet, which name I tender/As dearly as my own, be satisfied. (III.I.6-7)

Romeo's mom, Lady Montague is a watchful parent and wife toward her son and husband. She shows that she cares heavily for her husband when the battle started on the streets of Verona, and he wished to go, he was held back by his wife. She said, Thou shall not stir one foot to seek a foe. (I.i.8) Lady Capulet did this to protect her husband from near certain death. And as the battle was ended, she still cared that her son might have gotten hurt, even though she knew he wasn't even there. O. where is my Romeo? Saw him today/Right glad I am he was not at this fray. (I.i.118-11) But all her love was lost in a split second, as she dies almost at the same time her son does.

Lady Capulet too is a character that plays a role in this romantic tragedy. Like Lady Montague, Lady Capulet cares much for her only child Juliet. But most importantly, she cares for whom she'll marry. As she said, Well, well, thou hast a careful father, child/one who, to put thee from thy heaviness,/Hath sorted out a sudden day of joy/Thou expects not, nor I looked for. (III.V.11-115) She also said, Find thou thy means, and I'll find such a man/But now I'll tell thee joyful tidings girl. (III.V.108-10) Although it may only seem that Lady Capulet only cares for Juliet's future, she really cares about other people as well. As lady Capulet said, O, the people in the streets cry Romeo/Some Juliet, and some Paris and all run with open outcry toward our monument. (V.III..18-00)

Tybalt is the low-tempered beast in this story, due to killing Romeo's friend, Mercutio. But he paid the price of murdering Mercutio by receiving death from Romeo. But during his life he hated all Montagues, you could this when he said, what, drawn and talk of peace? I hate the word/As I hate hell all Montagues, and thee/have at that coward. (I.i.71-7) Tybalt's hatred toward Romeo was shown when he said that Romeo was a villain. Romeo, the love I bear thee can afford/No better term than this thou art a villain. (III.I.61-6) Clearly there is no soft feelings at the Montagues with Tybalt. As he said,

This, by his voice, should be a Montague-

Fetch me my rapier boy

What, dares the slave

Covered hither covered with an antic face

To fleer and scorn at our solemnity?

Now, by the stock and honor of my kin,

To strike him dead I hold it not a sin. (I.V.61-67)

Juliet, the other lover in this romantic tragedy has a gentle and loving heart. She cares deeply about her lover and, many others. This could be supported when she said to Romeo, O Romeo, Romeo, wherefore art thou Romeo/Deny thy father and refuse thy name/or, if though wilt not, but be sworn thy love, and I'll no longer be a Capulet. (II.II.6-) Juliet's feelings in relation to Romeo can be heard when she said,

Sweet, so would I.

Yet I should kill thee with much cherishing

Good night, good night. Parting is such sweet

Sorrow

That I will say good night till it be morrow. (II.III.17-01)

But Juliet isn't just kind, she's polite too. As she said to Romeo when he kissed her hand, Good pilgrim, you do wrong your hand too much/which mannerly devotion shows in this/For saints have hands that Pilgrims' hand do touch/and palm to palm is holy palmer's kiss. (I.V.108-111) Unfortunately for this young beauty, she dies as she stabs herself next to her lover.

The comedian and most unserious person in this story is the nurse. She thinks marriage is a fun thing to do as she said to Juliet, Go girl, seek happy nights to happy days. (I.V.11) The nurse in addition to being fun thinks being married is an advantage to be in. This could be supported when she said, No less? Nay bigger. Women grow by men. (I.IV.101) Further more, the nurse said to Juliet, A man young ladylady, such a man/As all the worldwhy, he's a man of wax. (I.III.81-8)

In conclusion this proves that Romeo and Juliet aren't the only characters in this story of tragedy. Sadly this story of romance doesn't have a fairy tail ending, although the Montagues and Capulets joined together at the end.

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Changes in roles of women during 1920's

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The 10s ushered in an era of dramatic change in the role and image of women in America, through new attitudes and a significantly different way of life. It was said in The Household in January 1884 that, a really good housekeeper is almost always unhappy. While she does so much for the comfort of others, she nearly ruins her own health and life. It is because she cannot be easy and comfortable when there is the least disorder or dirt to be seen. This was the general consensus concerning the role of women up until the very end of the 1800s, but the turn of the century and the post World War I period was accompanied by drastic changes to this theory.

Thus the general attitudes of the entire population, men and women alike, were completely revolutionized from the provincial views before. Previously, women were expected to do nothing more or less than cooking, ironing, mending, laundry, cleaning the house, and taking care of the children. These tasks consumed most of their time, leaving little opportunity to consider the possibility of rest or other activities. The twentieth century, however, stimulated major changes in the picture of the ideal family. This ideal, called the 'companionate family', held that husbands and wives should be friends and lovers and that parents and children should be pals. With this in mind, women made a slow transformation from the subordinate laborer to more of an equal partner. This revolution was supplemented by innovations of the time period. Improved appliances and goods such as canned foods made taking care of the home tremendously easier and less time consuming. It was no longer necessary to spend all day in the kitchen making food from scrap. Superior sewing machines and irons made everyday household chores much easier, as well.

Circulated literature also began to reflect and promote the changing attitudes of the public. F. Scott Fitzgerald sparked the revolution with the publication of his first book, This Side of Paradise in 10, which won him both fame and fortune, as he was the first to anticipate the pleasure-seeking generation of the Roaring Twenties. A similar novel, The Beautiful and Damned (11), and two collections of short stories, Flappers and Philosophers (10) and Tales of the Jazz Age (1), heightened his popularity. Other authors soon followed with similarly entertaining and reality-based works such as Dancers in the Dark, The Plastic Age, and Flaming Youth. These books depicted promiscuous heroines to a society that was at first stunned, and then delighted by this new pleasure principle.

Sigmund Freud, a controversial psychologist, supplemented the idea of the pleasure principle with his radical ideas about psychoanalysis, the 'unconscious,' and 'psychosexual development.' His theories involved subconscious intentions and the existence of underlying sexual desires. These thoughts sparked curiosity - and skepticism in many Americans and, though divisive, bore a remarkable influence on the attitudes of the general public. The previously accepted moral codes of the country were subsequently in grave danger. This code, as it concerned young people, might have been roughly summarized as follows Women were the guardians of morality; they were made of finer stuff than men and were expected to act accordingly. Young girls must look forward in innocence…to a romantic love match which would lead them to the altar and to live happily-ever-after; and until the 'right man' came along they must allow no male to kiss them. It was expected that some men would succumb to the temptations of sex, but only with a special class of outlawed women; girls of respectable families were supposed to have no such temptations (Oates, 170). The boys and girls that were growing up in this era were simply desecrating this code and there seemed to be no plausible way to stop it.

As the popularity of rebellion increased, a new kind of woman, labeled the flapper, emerged to encompass the idea of the modern lady. First and most obviously, defiant fashion trends developed to reflect these newfound attitudes. But before any changes could be made to outerwear, it was necessary to abandon the corset. Both women and doctors began to cite emphatically the physical limitations and long-term negative effects of the corset. Evidence revealed that corsets put pressure on, and occasionally even burst, vital internal organs and were also damaging to the back and respiratory system. With these restrictive garments discarded, the dresses that many of the women wore were considered alarmingly scandalous. In July of 10, a fashion reporter for the New York Times exclaimed, the American woman…has lifted her skirts far beyond any modest limitation, which was another way of saying that the hems had been lifted to a shocking nine inches above the ground. It was predicted that the winter of 10-1 would see the skirts coming down again, but instead they climbed a few disgraceful inches higher, eventually shortening to just below the knee. The flappers wore thin, often beaded, dresses that were typically short sleeved or sleeveless for eveningwear. New rayon hose were supported by garter belts and some of the wilder young ones even dared to roll them to just above the knee. The new fashion centered around the garçonne or little boy look. Women cut their hair short and the ideal body type switched from voluptuous and curvy to almost prepubescent. The young, emaciated flappers challenged the mature female form by flattening the breasts, dropping waists to the hipline, and emphasizing the slender figure. Brassieres were used to flatten, not support, and calorie counting became an obsession for those who pursued the trends.

Supposedly 'nice girls' were smoking cigarettes openly and defiantly, if often rather awkwardly and self-consciously. They were drinking somewhat less openly but often all too efficaciously (Oates, 171). Even the most respected parents were appalled to hear stories of their daughters getting drunk on the contents of the hip flasks of the new prohibition regime. Worse yet, even at the most well-chaperoned dances, their daughters were inclined to retire to darkened corners or parked cars to join in the unspeakable practice of petting and necking. F. Scott Fitzgerald once commented that none of the Victorian mothers and most of the mothers were Victorian had any idea how casually their daughters were accustomed to be kissed. These parents often failed to realize the popularity of these trends and that necking had become a bit of an indoor sport. Their daughters were sneaking out of the house to go joyriding with boys at all hours of the morning only to retire for a culmination of elaborate necking right under their noses.

The new style of dancing created even more concern among respectable adults. The barbaric saxophone replaced the romantic violin and the fox trotters moved in what the editor of the Hobart College Herald called a syncopated embrace. There was no longer even an inch of space separating them they danced pressed up against each other, body to body, cheek to cheek. The Catholic Telegraph of Cincinnati cried out with disgust, The music is sensuous, the embracing of partners the female only half dressed is absolutely indecent; and the motions they are such as may not be described in a family newspaper. Suffice it to say that there are certain houses appropriate for such dances; but those houses have been closed by law (Oates, 171).

Aside from her social decline in society, the woman of the 10s made enormous progress concerning civil rights and suffrage. Millions of American women marched and picketed in the streets exclaiming, KAISER WILSON, HAVE YOU FORGOTTEN HOW YOU SYMPATHIZED WITH THE POOR GERMANS BECAUSE THEY WERE NOT SELF-GOVERNED? 0,000,000 AMERICAN WOMEN ARE NOT SELF-GOVERNED. TAKE THE BEAM OUT OF YOUR OWN EYE (American Decades). Harry Burn, the youngest member of the U.S. House of Representatives at twenty-four, shouted Hurrah! And vote for suffrage! on August 18, 10 as he obeyed his mother and cast the final vote for the passage of the Nineteenth Amendment to the Constitution, giving women the right to vote. Initially regarded as a panacea for women, activists were fairly disappointed to observe that women did not vote in alliances or unanimously support women's issues, but voted according to race, social class, religious background, and geographic location. After 10, the suffrage movement divided into factions social feminists who sought reform of society in general, feminists who focused on expanded roles for women, women who were dedicated to pacifism, and women who campaigned for labor and professional reform. Nevertheless, women gained the political clout that they had been fighting for since the Seneca Falls Woman's Rights Convention in 1848 and felt empowered by the progress they had made.

Women also campaigned for the legalization and acceptance of birth control. Margaret Sanger led this revolution, publishing a pamphlet, Woman and the New Race, in 10 promoting birth control in an attempt to do something to change the destiny of mothers whose miseries were as vast as the sky. Sanger was determined to remove the taboo associated with contraception and to set up a nationwide network of advice centers on birth control for women. In 11 Sanger organized the American Birth Control League, which has been known as the Planned Parenthood Federation of America since 14. In 1, she opened the Birth Control Clinical Research Bureau in New York City, the first doctor-staffed birth control clinic in the United States. This first clinic became a model for the network of over three hundred clinics established by Sanger across the country by 18. In 17, the mailing of contraceptive material became legal, and birth control was recognized as a legitimate medical service to be taught in medical schools.

In 10, women composed .6 percent of the labor force. World War I and the absence of so much of the male population served to considerably expand women's employment. While the first generation of college educated women entered professions in the 10s, they found very few opportunities outside the nurturing women's professions such as nursing, teaching, social work, and pediatrics. Women laborers worked long hours and earned significantly less pay than men. Unfortunately, society was still hesitant about combining the roles of wife and mother with those of worker and professional, but became more comfortable as the decade progressed and increasing numbers of women chose to establish themselves in the workforce. As a result, pioneering efforts were undertaken to further the education and training of women workers. The most notable of these endeavors was Bryn Mawr College's Summer Schools for Women Workers in Industry. The school provided academic training, union-organization skills, and lessons in participatory democracy to women recruited by unions and the YMCA.

The attitude that we should eat, drink and be merry for tomorrow we die dominated post World War I America. Society could not return to past sentiments, and so instead moved onward to a social, sexual and political revolution that completely transformed the way women viewed the world as well as the way the world viewed them. Daisy Buchanan, the heroine in F. Scott Fitzgerald's The Great Gatsby, once said of her small daughter, I hope she'll be a fool that's the best thing a girl can be in this world, a beautiful little fool, but the 10s and the changes that ensued allowed women to hope for more than that.

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The Use of Characterisation in 'Rebecca' Essay

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Daphne Du Maurier wrote Rebecca in 18. It is a timeless saga of love and power that has some similarities with Du Maurier's life, such as the modelling of Maxim (a main character) on her husband. Authors use characterisation in texts to manipulate readers to respond to a particular theme. There are many themes present in Rebecca, but through characterisation, Du Maurier encourages the reader to respond to her theme of power. Throughout the text, Du Maurier demonstrates to the reader, how power creates fear, how power can remain after death, how money creates power, how relationships can fail if one person holds the majority of power, how first impressions can set up the power balance in a relationship and how people can abuse their power. Through the actions and dialogue of characters Mrs De Winter, Mrs Danvers, Favell and Maxim, Du Maurier presents to the reader certain aspects of power.

In Rebecca, Mrs De Winter's actions show the reader how power can create fear. Mrs De Winter accidentally knocks over a vase in the morning room, causing it to break. She then quickly hides the pieces, like a child. Through this characterisation technique, the reader can see that although Mrs De Winter is the mistress of the house, she is scared of one of the servants, whom is supposedly below her. Du Maurier manipulates the reader to relate to the anxiety Mrs De Winter is feeling. It is apparent that Mrs De Winter feels inferior to Mrs Danvers and she, like the reader, is fearful of her reaction. Du Maurier wants the reader to realise that power can make people afraid and can cause secrecy.

The actions of Mrs Danvers, present to the reader, how a person's power can remain even after death. Mrs Danvers has kept Rebecca's room just as it was before her death. The reader cannot comprehend why Mrs Danvers is living in the past, instead of moving forward. The way in which Mrs Danvers worships and maintains Rebecca's room, shows the reader how powerful Rebecca was. The reader can see that Rebecca's power has continued after her death and she still remains in control of Manderly. This explains why Mrs Danvers holds so much power at Manderly. It is as if she has taken over where Rebecca left off. Through this use of characterisation, Du Maurier has presented to the reader, how some people, with extreme power, can still rule over others after death and this can cause problems with life.

Favell's dialogue in Rebecca encourages the reader to see how money creates power. Throughout the text, Maxim is portrayed as being a rich and idolised figure. Once Favell tells Maxim he has evidence against him. He suggests that for two or three thousand he would keep quiet. This dialogue is conveying to the reader a direct link between power, money and corruption. Although Maxim refuses the offer, he still gets away with murder, because no one suspects him, as he is a respected figure at Manderly. Du Maurier is suggesting to the reader, that people with money have automatic power and they can use this power to their advantage.

In Rebecca, Du Maurier uses the dialogue of Maxim, to show the reader how a relationship can be jeopardised when one person holds most of the power. Maxim calls Mrs De Winter a little idiot when he finds out Mrs De Winter has hidden the pieces of the broken vase. The tone in which this dialogue is said, implies that Maxim believes he is more mature than Mrs De Winter. The reader is horrified that Maxim would be so arrogant, as to call his wife such an offensive name. Instead of sympathising with Mrs De Winter, he has carelessly brushed her problems aside by criticising her. The reader can see Maxim is a busy man, who believes that his life is more important than his spouse's. Du Maurier has carefully chosen the words and tone to display to the reader, how in most relationships, if one person dominates over the other, the relationship is compromised.

Du Maurier uses actions to show the reader how first impressions can decide who holds the power in a relationship. When Mrs De Winter first arrives at Manderly, she is greeted by Mrs Danvers and as she is nervous, she drops her gloves. This action makes Mrs De Winter appear clumsy and unsophisticated. The reader can feel Mrs De Winter's embarrassment and sympathises with her awkward position. The reader can see that through this first interaction, Mrs Danvers instantly knows she can overpower Mrs De Winter and does so throughout most of the text. Through this use of characterisation, the reader has learnt, how first impressions can show how dominant or submissive someone is. The reader is encouraged to realise, that the first interaction with someone can often set up the power balance in a relationship.

The reader is encouraged to see how power can be used to manipulate others through the actions of Mrs Danvers. Through previous characterisation the reader knows that Mrs Danvers has a strong hold over Manderly. Mrs Danvers uses this power to convince Mrs De Winter to wear Rebecca's dress to the fancy dress ball. The reader can see that Mrs De Winter trusts Mrs Danvers, so she feels compelled to wear Rebecca's dress. Du Maurier is encouraging the reader to realise, that Mrs Danvers can use her power to influence Mrs De Winter. The reader feels hatred for Mrs Danvers, as she has intentionally abused her power to humiliate Mrs De Winter. Du Maurier wants the reader to realise, that power can be used to take advantage of people.

Through characterisation techniques, Du Maurier has presented to the reader, her theme of power in Rebecca. Dialogue and actions of Mrs Danvers have shown the reader, how power remains and how power can be used to make others feel uncomfortable. The characterisation of Mrs De Winter, Favell and Maxim has been used to encourage the reader to realise how power creates fear and secrecy, how money can create corruption and power and how the power balance in a relationship can be decided by the first meeting. The way in which Du Maurier has portrayed her theme of power, as an obstacle in people's lives, still makes Rebecca relevant to individuals today. The positions the characters find themselves in, in Rebecca, can easily be related to similar situations in the readers' lives. This excellent use of characterisation could be one of the reasons why Du Maurier's novels are so popular.

Please note that this sample paper on The Use of Characterisation in 'Rebecca' Essay is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Use of Characterisation in 'Rebecca' Essay, we are here to assist you. Your cheap research papers on The Use of Characterisation in 'Rebecca' Essay will be written from scratch, so you do not have to worry about its originality.

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