Yin and Yang

Create a symbol for Hermione. Why does your symbol represent her? Write a short description of your symbol. Blog it.

       Hermione, the beloved queen of Sicilia is perceived to be yang; the opposing force to yin. As yang symbolizes the bright, active, upward, hot, expanding, and strong. Hermione represented all of the good attributes which highlighted all the bad characteristics of Leontes whom is perceived to be yin. Ironically, yin and yang are considered female and male respectively. However, Leontes had similar corresponding    aspects to yin; dark, passive, downward, cold, contracting, and weak.

      These two energies are considered to cause everything to happen which in effect did happen in the book. The conflict was caused by Leontes’ (in this case yin’s) jealousy and everyone sympathized with Hermione’s (yang’s) misfortune as a result.  

Leontes' Stupidity

Because of the King’s stupidity he suffers terribly. Do you think he got what he deserves? Justify your answer.

    Throughout Shakespeare’s The Winter’s Tale, King Leontes has been described as evil, despicable, irrational, petulant, jealous and delusional. Although Shakespeare takes pains to make the audience sympathize with Leontes, it seems to be a lost cause.

      In Acts 1-3, the audience sees the King so overcome with anger and jealousy that he becomes irrational and fixated on his own false beliefs. He imprisons his wife; He defames her innocent reputation; He banishes his daughter; He plotted to kill his best friend and he even drove Mamillius, his only son to his deathbed.

      Did he deserve the harsh fate of his sentiments being false the entire time? Did he deserve the death of his only son and wife? Did he deserve the suffering that he had banished his daughter to an unknown fate?; Accusing and plotting to kill his friend for his make-belief tale of jealousy?; And accusing his loyal servant of betraying him? Did he deserve the harsh words he received in the end? The answer is a resounding yes.

     As the story unfolds one is ceased on the wrong path that King Leontes has followed throughout which leads to the death of his only son and wife. The banishing of his daughter based on his false premise was another example of his irrationality and paranoia of King Leontes.

     Shakespeare skillfully has woven a plot of unfortunate incidents based on an entirely false notion and everything crumbles around Leontes. All familial relationships crumble as his fixation unfolds throughout the story. King Leontes does not put any faith in the virtues and fidelity of his wife; he is distrusting of his servant which points to certain egocentricity and selfishness on his part. He clearly believes only in his values and the perceived good he sees in himself blinds him to the actual good in others.

      For instance, the manner in which King Leontes deals with his unborn daughter is a clear premise to highlight the stupidity and ignorance:

King Leontes imprisons Hermione while pregnant with the innocent babe causing Hermione to have a premature birth due to the grief arising from her husband’s callous actions. Paulina dutifully carries the newborn baby and shows it to the King thinking that once he sees her he will have mercy on Hermione and the baby. However, he then is so outraged that he speaks of burning the baby and thereafter decides that he will only banish it to fend for itself.

         Thus, Leontes did in fact get his just deserts. He allowed jealousy to take over his rationality and as a result lost his family, friends and loved ones due to the misconceptions and accusations he wrongfully made. 

Mamillius & Shakespearean Society

In the beginning of Act 2 Scene 1 Mamillius exchanges the ideas about women with his mother and ladies in waiting. How might his conversation evoke larger social arguments about men and women in Shakespearean culture?

In The Winter’s Tale Act 2 Scene 1, Mamillius exchanges his ideas about women with his mother and the ladies in waiting. It is evident in this discourse that his viewpoint is a direct reflection of the wider society and inequality between the sexes seems to be a faltering aspect of the Shakespearean Era having influence on the minds of the members of society.

In the beginning of this scene Mamillius posits:

Not for because

Your brows are blacker; yet black brows, they say,

Become some women best, so that there be not

Too much hair there, but in a semicircle

Or a half-moon made with a pen.

In actuality, Mamillius is mocking women for using cosmetics. However, in essence his words portray the fact that men often noted every detail of a woman’s beauty and shows how much of an integral part it was for choosing a mate. Men often only saw women for their beauty and nature not their personality or sophistication. They had to look presentable; fair-skinned, slim, fashionable, right down to the very last hair on her brow.

Unfortunately, the same idea did not apply to the men of this society rather; men were chosen based on their status, looks, and education or even because they seemed interested. The prejudicial preference was given to males in that society due to the societal beliefs that men were smarter and were inclined to be of a better disposition than a female.

This scene illustrates the inequality within the socially stratified society with men being at the forefront and women being at the bottom of the social pyramid. For although Mamillius was but a child, the women still had to attend to his every whim, not because of his status as a prince but merely because of his ascribed status as a male. For instance when the young prince addresses the waiting ladies statement:

 Nay, that's a mock: I have seen a lady's nose

That has been blue, but not her eyebrows.

 This shows that women hardly had a say in anything even when referring to herself. In a man’s eyes she was almost always wrong and in society’s eyes, Men were always right whilst women’s opinions never mattered.

Even his mother had to put his opinion before hers. For example when Mamillius disregards his mother’s want of a ‘merry tale’:

A sad tale's best for winter: I have one

Of sprites and goblins.

In reality, Mamillius is only half-right. A sad story would, in fact, be best for the winter but a happy-ending had to be the result; a promise for the spring. However his mother did not want to discredit the young prince and instead agreed and allowed him to tell the sad tale. The reason being that women were often times socialized to be soft-spoken and submissive to their male counterparts. If they dare spoke out against their husbands or even had a simple argument or disagreement they were referred to as shrews or scolds by the wider society.

Similarly, once they were accused of cheating by a male they were instantly labeled as an adulteress and the men; cuckolds. Women ran the risk of being called such simply by being seen with a different man; no fair trial, no innocent until proven guilty; they were instantaneously shunned by society whereas men could just dismiss the accusation or society would be apathetic to such a claim.  Men could commit infidelity and fornication and still hold the same position he was in before.

Thus, Mamillius’ views on women were thought to have a relation to societal norms and values and were, in the least, objective. He merely upheld the Shakespearean culture of the inequalities between males and females and was seen as an innocent pawn in the play, used only to show these inequalities and set the scene for his father’s arrival.

The Beginning's Tale

1. What is the purpose of the first scene?

In Shakespeare's The Winter's Tale the first scene acts as a prelude to the novel. At the beginning, the reader marks Camillo and Archidamus engaging in a discussion about the two territories; Bohemia and Sicilia. In this discussion, it is obvious that the countries in this case are actually symbolizing the two kings that reign over those territories; Leontes and Polixenes. This is mainly because it infers human-like charcteristics to the said countries so much so that the reader perceives that it is, in fact a form of characterization. 

Shakespeare cleverly creates the first scene peculiarly in such a way as to draw attention to the characters and create dramatic significance. This refers to the elements of drama, acting in unity to effect the purpose of the play. If something is dramatically significant it may serve to advance the plot, develop a character, heighten the conflict, create audience expectancy and create irony. It also serves as a form of foreshadowing as to the relationship between the two kings. 

Literature - Assignment 2

1. Have you ever been betrayed? Give an example of when you were betrayed. How did you feel? What did you do?

I have been betrayed so many times in the past, it's hard keeping track but there is this one instance that far surpasses the others. It all began where many other dramatic happenings take place; in high school. 

In High School, I wasn't popular nor was I socially inept, I was the middle-ground. I had very few friends but to me it was all I could have ever wished for. However, I had a specific friend who I thought I could confide in. I told her all my secrets ranging from my crushes to my personal life. Throughout the period of time I had been confiding in her, I overheard people talking about what I had said to her in confidence. At first I thought maybe they saw that I had been going through these things, but then it all began to add up. As time went by I limited speaking to her, be that as it may we still remained friends. 

Afterwards, as the drama between us began to die down, I heard that she had spread malicious and excessively hurtful rumors about me. (Mind you, I trusted this girl; I treated her like a sister). That was my breaking point. Rather than the dejected, helpless feeling and self-pity that had often times overwhelmed me over the years, I felt the impulsive feeling of anger and vengeance. But of course that didn't last for long nor did I act on them, I just felt apathetic. I'll never forget what she has done but I am slowly learning to forgive her. 

2. Have you ever felt that you were betrayed and in the end misunderstood the situation? 

Due to the aforementioned situation I have found it harder to trust persons so I have had the very unfortunate happening of misunderstanding situations leading me to think I was betrayed but in actuality I wasn't. For instance, I had a very close friend whom was very dear to me. However, due to a rumor concerning her I was misled into believing that she had said something behind my back. It turned out the allegations were false and I made a complete fool of myself when I confronted her about them. 

3. Look at Shakespeare's plays, why do the characters always resort to violence, trickery or evilness?

Violence, trickery and evilness often work as the catalyst in making Shakespeare's novels eventful and even suspenseful for the audience/readers. These antagonistic characteristics result from several factors which are reoccurring themes in many of Shakespeare's novels; betrayal, love, revenge and of course lust. Betrayal being the most common of the few. The element of betrayal frequented by the powerful unconditional/Eros love that the characters often express lead to violence, trickery and evilness to arise out of the protagonist.

However, the reasons for wickedness to prevail has often been debated over the years. Pundits and theorists argue that it was due to the time period where there wasn't a structured legal system thus justice was ad hoc or the fact that there was always an evil opposing force that led them to act in such an excessive and malicious manner. 

The fact that there wasn't a structured legal system often led the characters to take justice into their own hands. Much like the instance in 'The Merchant of Venice' where Shylock desperately seeking for revenge against Antonio, his enemy makes a contract involving a pound of flesh to be cut if Antonio didn't pay the allotted number of ducats borrowed. The Jew sought his own sort of penalty despite the fact that once the deed was left undone; the court rejected his harsh punishment. 

The exacting nature of their system of justice is even more poignant when Portia declared;

"Then take thy bond, take thou thy pound of flesh; 

But, in the cutting it, if thou dost shed 

One drop of Christian blood, thy lands and goods 

Are, by the laws of Venice, confiscate 

Unto the state of Venice." (4. 1. 308-312)

This shows the primitiveness of the court system. The fact that a simple contract could have been followed despite the seriousness and ill-intent it had sought. If it had not been for the clever judge who found the loophole in the bond, a man would have lost his life just for signing a contract. 

        Furthermore, the antagonist often characterized as having manipulative and conniving qualities leads the main character on this evil, twisted path. Much like in the books; 'Much Ado About Nothing' and 'Othello'. In 'Much Ado About Nothing' Don John deceives both the prince and Claudio to believe that Hero has committed an unforgivable sin as an unmarried woman; cuckoldry. This makes Claudio believe that his fiancee has betrayed him and he misinterprets the entire situation leading him to act in a violent manner at the wedding and rejected his beloved on the wedding day. 

         In Othello, however, the events arising from the supposed betrayal are by far worse. The outcome of Iago's treacherous plot against Othello results in Desdemona's (Othello's wife) murder by her husband's own hands.

           Thus, not only does the antagonist provoke the characters into behaving violently but so too does the law prohibit people to act in a very unrestrained vehement way. 

4. Look at the background of  'The Winter's Tale'. What is going on in that era?

During the period in which Shakespeare wrote one of his many 'first folio' novels 'The Winter's Tale' many historical happenings occured. The time period 1611 when the book was written and 1625 when it was published, coincides with the reign of King James VI known as The Jacobean era. This era was particularly significant because at the time King James VI also ruled over Scotland. It also marks a new found appreciation for the arts which is particularly predominant in this period.

However, on 5th November 1605, a group of Catholics attempted to assassinate the King by blowing up the Palace of Westminster but the Gunpowder Plot was exposed before the deviants could cause any harm or damage. They were then convicted, hung, drawn and quartered.

Shortly after this devastating event, the King James Bible was published for the first time in London, England, by printer Robert Barker on the 2nd May 1611.

In 1618-1648, a religious conflict between Protestants and Catholics in the Holy Roman Empire outbroke. This dispute escalated over time into a war involving most of the European powers. This war was called the Thirty Years' War for obvious reasons. 

5. What is the Elizabethan Theatre?

The Elizabethan Theatre, sometimes referred to as the English Renaissance theatre, derived from medieval theatre traditions, such as the mystery plays which were complicated recounts of biblical legends. The mystery plays had a phenomenal impact on the religious celebrations in England and later even became an intregal part of festivals in parts of Europe in the Middle Ages.

The History of the Elizabethan Theatre bagan with the wandering actors who travelled from city to city and roamed the streets simply in search for a sizeable crowd to perform to. However, due to the horrific outbreaks of the Black Plague, these minstrels often faced many trials based on suspicion from the citizens. Thus, the actors' reputations were severely undermined formulated on stereotypes that they were equivalent to lowly vagabonds and thieves. Travelling throughout the era was restricted and required a license which affected these travelling actors. However, after much consultance from the English nobles; the maintainence of the Elizabethan Acting Troupe was formed.

However, once Queen Elizabeth came to power, the rise and formalization of English drama was supported and fostered as an inherent part of society. It was during her era that drama began to be recognized as a complex art form to be appreciated, loved and critiqued by the masses. As the literary aspect of Engand's culture began to flourish so too did the development/establishment of several theatres. One of the many theatres established within that era was the first playhouse 'The Theatre'. After this astronomical leap in James Burbage's name; several other theatres were built including 'The Globe'.

1.1 The Globe

The original Globe Theatre was a wood-framed building with 

plastered outside walls joining at angles to form a circle or an oval. 

The interior resembled that of a modern opera house, with three 

galleries protected from rain and sunlight by a roof. Between 2,000 

and 3,000 playgoers paid two or more pennies to sit in these galleries, 

depositing them in a box. The stage was raised four to six feet from 

ground level and had a roof supported by pillars.

On June 29 1613 The Globe Theatre ignited and as a result burned to the ground. It was started by the firing of a cannon as part of a performance of Henry VIII ad as a result 'The New Globe' was built. 

1.2 The New Globe

6. What is the Theatre of the Absurd? 

The Theatre of the Absurd was started by the French in the late 1940's. It postulates that in an atheistic universe, there is no real meaning to human life and thus man-kind finds it impossible to interaction. There is no reason or logic in man's communication which leads to chaos and havoc; This dissonance eventually leads to silence.

This theatrical style highlights man's aloneness and his quest to conquer the metaphysical world. "Absurdist works utilise thetrical conventions such as - but not limited to - Mime, Gibberish, Heightened Language, Codified Language and Vignette." The arrangements usually lack struggles, and concentrate on contrast, alienation and irony.

1.3 Theatre of the Absurd


7. Write a biography on William Shakespeare.

Although Shakespeare has been quite an inspiration on many forms of art and literature throughout the years; he still has a msysterious air to him. Many wwho want an inside look into Shakespeare's life get frustrated because with regards to his personal history most of it is either based on assumption or insinuation and only a few records documenting important milestones in his life have been safeguarded and cherished. 

William Shakespeare of Stratford-Upon-Avon was born on April 23, 1564. Church records verify this indicating that he was, in fact baptised in 1564 approximately three days after his birth. It is said, that the young Shakespeare was son of John Shakespeare and Mary Arden and was the third-born out of eight children.

His education is somewhat a grey-area in his recorded life. Many speculate that he attended The Free Grammar School in Stratform based entirely on the fact that he had an extensive knowledge of Latin and Classical Greek. Also, many believe that his father's position in society may have scored Shakespeare an education at the Grammar School. 

Shakespeare later married Anne Hathaway on November 28, 1582. William was estimated to be 18 at the time and Anne was 26 and pregnant. She gave birth to three children - her first daughter, Susanna and twins, Hamnet and Judith. 

In the infamous period in Shakespeare's life known as the 'Lost Years' where there is no record of him for seven years.There were many rumors of what he was doing at the time but none are proven to be true. He finally arrived in London and began to establish himself as an actor and playwright in approximately 1588. 

By 1594, Shakespeare was acting, writing and managing for the Lord Chamberlain's Men; an established playing company. Shakespeare's success is evident in even today's society there is an appreciation for this great literary contributor. "His company was the most successful in London in his day nd he had plays published and sold in octavo editions to his 'literate audiences." Apart from his obvious success as a literary genious; he also had some entrepreneurial skills as well attributed based on his success in both the theatrical company and the Globe. 

Shakespeare's works entail a few comedic plays including: 'All's Well That Ends Well' , 'As You Like It' (1599), 'Comedy of Errors' (1589), 'Love's Labour's Lost', 'Measure for Measure' (1604), 'Merchant of Venice', 'Merry Wives of Windsor' (1600), 'Midsummer Night's Dream' (1595), 'Much Ado about Nothing' (1598), 'Taming of the Shrew' (1593), 'Tempest' (1611), 'Twelfth Night' (1599), 'Two Gentlemen of Verona'(1594) and 'Winter's Tale' (1610). His Histories include: 'Cymbeline' (1609), 'Henry IV, Part I' (1597), 'Henry IV, Part II' (1597), 'Henry V' (1598), 'Henry VI, Part I' (1594), 'Henry VI, Part II' (1590), 'Henry VI, Part III' (1590), 'Henry VIII' (1612), 'King John' (1596), 'Pericles' (1608), 'Richard II' and 'Richard III' (1592). Whereas, a list of his tragedies include: 'Antony and Cleopatra' (1606), 'Coriolanus' (1607), 'Hamlet' (1600), 'Julius Caesar' (1599), 'King Lear' (1605) , 'Macbeth' (1605), 'Othello' (1604), 'Romeo and Juliet' (1594), 'Timon of Athens' (1607) , 'Titus Andronicus' (1593) and 'Troilus and Cressida' (1601).

"William Shakespeare wrote his will in 1611, bequeathing his properties to his daughter Susanna. To his surviving daughter Judith, he left £300, and to his wife Anne left "my second best bed." William Shakespeare allegedly died on his birthday, April 23, 1616." Two co-workers from the Lord Chamberlain's Men, John Heminges and Henry Condell, published the First Folio edition of his collected plays.

"William Shakespeare's legacy is a body of work that will never again be equaled in Western civilization. His words have endured for 400 years, and still reach across the centuries as powerfully as ever." His epitaph reads:

"Good friend, for Jesus' sake forbeare

To dig the dust enclosed here.

Blessed be the man that spares these stones,

And cursed be he who moves my bones"

Drama

Elements of Drama

Act is a part of a play considered a major division

Scene is a subdivision of an act.

Exposition is the part of a book that sets the stage for the drama to follow: it introduces the theme, setting, characters, and circumstances at the story’s beginnings.

Conflict is the struggle within the plot between opposing forces.

Complication is the series of difficulties forming the central action in a narrative.

Climax is the highest point of the narrative. All actions build towards the climax.

Denouement is the unravelling of the plot in a play or story.

Peripeteia is the sudden reversal of fortune in a story, play or any narrative in which there is an observable change in direction. 

Characterization is the process of depicting characters and personality in a narrative so that the characters seem real.

Protagonist is the main character (the central or primary personal figure) of a literary, theatrical, cinematic, or musical narrative, around whom the events of the narrative's plot revolve and with whom the audience is intended to most identify.

Antagonist is a character, group of characters, or an institution, that represents the opposition against which the protagonist must contend.

Main Plot is the underlined or most prevalent idea of the story line.

Sub Plot is a secondary plot strand that is a supporting side story for the main plot.

Forms of Drama

Comedy in a literary form presents the misadventures of the characters as amusing rather than disastrous and provides a happy ending.

History in a novel has as its setting a period of history and that attempts to convey the spirit, manners, and social conditions of a past age with realistic detail and fidelity (which is in some cases only apparent fidelity) to historical fact. The work may deal with actual historical personages...or it may contain a mixture of fictional and historical characters.

Tragedy is a form of art dealing with a serious or sombre theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, a fate of society, to downfall or destruction.

Romance or Chivalric Romance is a style of heroic prose and verse narrative depicting heroic or marvellous deeds, pageantry, romantic exploits, etc. in a historical or romantic setting. 

Tragicomedy is fictional work that blends aspects of the genres of tragedy and comedy. In English literature, from Shakespeare's time to the nineteenth century, tragicomedy referred to a serious play with either a happy ending or enough jokes throughout the play to lighten the mood. 

Theatre of the Absurd is a theatrical style originating in France in the late 1940's. It relies heavily on existential philosophy, and is a category for plays of absurdist fiction, written by a number of playwrights from the late 1940s to the 1960s, as well as the theatre which has evolved from their work. It expresses the belief that, in a godless universe, human existence has no meaning or purpose and therefore all communication breaks down. Logical construction and argument give way to irrational and illogical speech and as its ultimate conclusion, silence.

Satire is primarily a literary genre or form, although in practice it can also be found in the graphic and performing arts. In satire, vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, and society itself, into improvement.

Modern Drama speaks loudly and lucidly to multiple parties and can articulate struggle and redemption in a matter that makes it understandable to all in the modern society. Its revelancy is effective in real time.

Melodrama refers to a dramatic work which exaggerates plot and characters in order to appeal to the emotions. It may also refer to the genre which includes such works, or to language, behavior, or events which resemble them. It is also used in scholarly and historical musical contexts to refer to dramas of the 18th and 19th centuries in which orchestral music or song was used to accompany the action.

Features of Drama

Monologue is when the character may be speaking his or her thoughts aloud, directly addressing another character, or speaking to the audience, especially the former.

Dialogue is a literary and theatrical form consisting of a written or spoken conversational exchange between two or more people.

Soliloquy is a device often used in drama whereby a character relates his or her thoughts and feelings to him/herself and to the audience without addressing any of the other characters, and is delivered often when they are alone or think they are alone. 

Aside is a line spoken by an actor that the other characters on stage supposedly cannot hear. An aside usually shares the character's inner-thoughts with the audience.

Set is the setting in which the filming or acting of the story, play or literary work takes place.

Stage Directions are the directions given to the actors by the director. They involve physical movement by the actors on stage.

Stage Conventions deal with the engineering products tied to the story and how those ties affect the audience's response eg. costume, lighting, sound effects, stage position, backdrops and props.

Chorus is a homogenous, non-individualized group of performers, often in the plays of classical Greece, who comment with a collective voice on the dramatic action of the play or narrative.

Dramatic Unities are the three dramatic principles requiring limitation of the supposed times of a drama to that occupied in acting it or to a single day (unity of time), use of one scene throughout (unity of place), and concentration of the development of a single plot (unity of action). The principles are derived from a Renaissance interpretation of Aristotle's poetics. 

Disguise is to change the appearance or guise of so as to conceal identity or to mislead, as by means of deceptive garb. In a play, this would be able to assist in convincing the actor's role to the audience.

Literary Devices

Imagery  is used in literature to refer to descriptive language that evokes emotional responses.

Motif is any reoccuring element that has symbolic significance in a story. 

Symbolism is the art of using an object to represent something else. Symbolism is often times used in literature to provide meaning to the writing beyond what is actually being described.

Dramatic Irony is the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously), thus placing the spectator a step ahead of at least one of the characters.

Tragic Irony is a special category of dramatic irony. In tragic irony, the words and actions of the characters contradict the real situation, which the spectators fully realize. In other words, the incongruity created when the (tragic) significance of a character's speech or actions is revealed to the audience but unknown to the character concerned.

Juxtaposition is the placement of two things (usually abstract concepts, though it can refer to physical objects) near each other.

Literary Contexts

Social Context is the culture that s/he was educated and/or lives in, and the people and institutions with whom the person interacts.

Historical Context reflects the time in which something takes place or was created and how that influences how you interpret it. In other words, it is the events that took place around something through which you understand that thing.

Political Context reflects the environment in which something is produced indicating it's purpose or agenda

Religious Context is the setting of a spiritual nature which sets the tone or background of a particular scene/ event in a story, novel or novelette

Ethnic Context is the ethnicity/ethnic background of the main characters in a story.

Moral Context sets the tone of the ethical or philosophical tone of the story.

Intellectual Context gives the academic or educational background of the protagonist.

Cultural Context is the overriding values and mores of the main characters in the book/story.

Difficult Marriages

           Throughout the pages of Jane Austen’s novel, ‘Pride and Prejudice’, it often places much emphasis on women and their views on marriage. This motif is a very significant theme in the book due to the fact that many of the characters within the book concentrate primarily on this matrimonial ceremony.

            Mr. Bennet, as the novel progresses, admits to the main character, Elizabeth that he had made a terrible mistake in marrying her mother. The reader, prior to his admittance, realizes that Mr. and Mrs. Bennet’s marriage is seemingly very odd and in complete shambles.

          Elizabeth sees that although, Mr. and Mrs. Bennet have been married for twenty-three years, they are complete opposites and thus, share absolutely no common interest whatsoever. Mr. Bennet is described as a man who ‘was so odd a mixture of quick parts, sarcastic humour, reserve and caprice’ whilst Mrs. Bennet is describes as being ‘a woman of mean understanding, little information and uncertain temper.’ They thus can be said to have very little compatibility.

            In the book’s entirety, Mr. Bennet does not exhibit any affection towards his wife.  Similarly, Mrs. Bennet does not understand Mr. Bennet and shows very little regard towards his feelings, opinions and views. There is, hence, a lack of communication between both counterparts.  

            This is understandable since their marriage was based entirely on ‘physical attraction’. Mr. Bennet was ‘captivated by youth and beauty’; however, after experiencing her true ways he loses all respect for her.

            Children are, in fact, affected by difficult marriage. They may show signs of such in their behaviour, actions and values and even in their attainment or achievement of grades in school. For instance, Lydia’s impertinent behaviour in the book could be said to have been as a result of the ‘difficult marriage’ between Mr. and Mrs. Bennet. She in seeing the way her parents behave elopes with Mr. Wickham, a man she barely knows, just as her father did in marrying Mrs. Bennet based entirely on physical attraction.

            Furthermore, Lydia, in her poor learning ethics and manners, shows her disinterest in the book Mr. Collins insisted on reading in a rather impolite manner. This could have been uncivil behaviour she adapted from witnessing her parent’s behaviour towards one another.

            It is completely unacceptable and intolerable to stay in a marriage just for the sake of the children. Both partners usually, in that kind of situation, show signs of resentment towards each other which would make the atmosphere within the household very uneasy and deficient (much like Mr. and Mrs. Bennet). This could also affect the child mentally and emotionally in being in such an atmosphere and the parents would constantly be at war with each other.

            However, it may be considered unfair to the children since both partners are necessary to contribute to the household and attribute their different functions. It is, hence, often said that both partners are required in the household in order for the functional prerequisites of family to transpire. They may develop signs of depression because of this and may not be able to see one of their parents as often as they used to. Therefore, it is important to consider the child, in the situation of divorce or separation, to a certain extent.

Pride & Prejudice: Character Sketch

Siobhan A. Leandro
Sharifa George
Shakeema Edwards
Daveniel Matthery


Ms Jane Bennet: Jane is condemned by her sister Elizabeth as being “a great deal to apt… to like people”. While Jane’s endeavour to see the best in people contribute to her king and caring nature, it also blinds her from the malicious devices of persons such as Caroline Bingley who only pretend to have her best interest at heart. Jane is also described as being prone to “conceal” her affection; she divulges to Elizabeth alone her admiration for Mr Bingley, but is “cautious” when discussing him with everyone else. This secret reserve of Jane ultimately causes her to lose Bingley’s love.

            Ms. Elizabeth Bennet: Elizabeth is the thorn among roses; she is the intellectual gems among her sisters. It is reflected in her witty speech and opinionate composure. Elizabeth wows strangers with her unique nature, notwithstanding the fact that she is a woman. She emulates the "Prejudice" in 'Pride and Prejudice'. Throughtout the novel, we learn of the prejudices Elizabeth hold strongly towards Mr, Darcy. This course relationship fostered by Mr. Darcy and prolonged by Elizabeth is outstanding because, as opposed to the average woman, Elizabeth has her views and opinions and makes them known.

            Mr. and Mrs. Bennet: an interesting and contrasting duet. Mr. Bennet is termed in the book as "so odd a mixture of quick parts" A colourful blend of personality characteristics such as humour, sarcasm and intelligence, thus he is of a sound mind. His wife, Mrs. Bennet, on the other hand, is more of a simpleton. She busies herself with the fine; however idle things in life, such as clothes and gossip. Mrs. Bennet represents the average women of the novel; subject to poor education, matters of the home and family and lastly, a vivid example to the place of women being subordinate to men.

            Mr Fitzwilliam Darcy: Mr Darcy is described as “the proudest, most disagreeable man in the world”. However, Darcy’s reserved nature stems as much from his shyness and inability to be comfortable around persons he does not know as it does from his pride. His love for Elizabeth despite her family’s obvious shortcomings proves that there is more to Mr Darcy beneath his proud demeanor.

            Mr Charles Bingley: “Good looking and gentleman-like… [with] a pleasant countenance and easy, unaffected manners”, it is no surprise that the young bachelor is a favourite among all of the inhabitants of Hertfordshire; especially the young ladies. Bingley’s overall appeal is slighted only by his relation to such prideful people as his sisters Caroline and Louisa. 

            Mr. Collins: The character Mr Collins is the nephew of Mr. Bennet and also is a clergyman. He is 25 years of age and is the heir to the property that Mr. Bennet owns due the fact Mr. Bennet has five Daughters. His character can be said of a bit boastful via his manner on speaking of Lady Catherine de Bourgh. The author states Mr. Collins as ‘not a sensible man, and the deficiency of nature had been but little assisted by education or society.” From this it is seen that Mr. Collins is a character that goes based on his instinct and not his common sense. The characters around him see him as prideful but he is seen as a person in good standing with Mrs. Bennet when he shows interest in marrying her daughter Elizabeth

Betrayal in Much Ado about Nothing

     In Shakespeare's play, Much Ado about Nothing,  betrayal is seemingly an extremely prominent theme within the content of the book. Betrayal is in fact, introduced at the very beginning of the play and explored throughout the book's entirety. Therefore, the factor of betrayal does, to an extent, affect the overall outcome of the plot . However, although betrayal is introduced in the beginning of the play it is not until the nearing of the end that betrayal becomes a theme which highlights the climax and also creates foreshadowing determining the outcome of the book. The reader, in the first chapter, establishes that Claudio - the young, naive soldier may be the character that is most affected by this theme - betrayal.

      In the first chapter, Claudio declares his affection for the sweet, Hero to both Benedick and Don Pedro. He then asks for their advice and somewhat approval of his crush. Benedick objects to his declaration, The Prince on the other hand gives not only his support but also devises a plan to woo Hero for Claudio.  On the night of the ball, Don Pedro takes the plan into effect, however, whilst Claudio awaits for the Prince's beckoning Don John enters the scene. He then manipulates and influences Claudio into believing that the Prince is wooing Hero for himself. Claudio feeling double-crossed and deplored posits "Thus answer I in the name of Benedick, But hear these ill news with the ears of Claudio: 'Tis certain so, the Prince woos for himself. Friendship is constant in other things, Save in the office and affairs of love...farewell therefore Hero". Don Pedro then proves to be loyal and reliable when calling Claudio to greet Hero.

      This contributes to the process of characterization within the plot. Through the mere fact that Claudio accepted Don John's word over believing his own friend shows that Claudio is not only naive and trusting but it also shows the extent of his trust for his friends. It also displays the Elizabethan Era's perspectives and views that word is a strong force in judgement.

     This betrayal motif continues for Claudio when Don John reveals that Hero has been promiscuous and engaging in premarital sex. Don John cleverly devises a plan to ruin Hero and Claudio's wedding. He pays Borachio a large sum of ducats to make-love to Margaret who would be dressed in Hero's garb and in Hero's room to make the affair seem more realistic. Don John leads the couple to Hero's window whilst the immoral act transpired. Claudio believing the deceptive garb of the scene feels not only betrayed but on some levels astonished that she could do such a thing to a man of high standing.

      Lastly, betrayal is also evident on Hero's character. On the day of the wedding, she is decked out in white, at the alter, staring at the man she loves and what does he do? Not only does he reject her her humiliates her and with false accusations. The pure Hero's reputation now damaged, tainted and only because of a misunderstanding and a villainous plot. She is not only betrayed, she is humiliated, dejected and saddened by the acts of her ex-fiancé. Her father, Leonato also shared these feelings but he instead felt betrayed and ashamed of his daughter.

       Therefore, it could be said that without betrayal there would not only be no climax there would also be no motif and no emotion or a lack thereof. Furthermore, Don John without the theme of betrayal would not really be considered an antagonist in this plot. Hence, betrayal is, in fact, a necessity for this comedy.

  

Humour in 'Much Ado About Nothing'

        In William Shakespeare’s comedy ‘Much Ado About Nothing’ the characters contribute to the humourous essence of the novel as they engage in several misconducts of sorts.  Although several characters do in fact display much comical gestures and language, Dogberry is by far the most hilarious of the few.  

            Dogberry often utters malapropisms (the ludicrous misuse of words, especially through confusion caused by resemblance in sound otherwise known as ‘verbal faux-pas’) because although he is uneducated, illiterate and is of very limited intelligence, he still tries to use words which he is not yet fond of in meaning to impress others. His consistent usage of malapropisms throughout the book makes the readers and other characters within the book tend to take him for a simpleton.

            For example, He states “You are thought here to be the most senseless and fit man for the Constable of the watch”. It is quite obvious in this sentence that he mistakenly says ‘senseless’ instead of ‘sensible’ but as it is the first time the readers witness his stupidity they dismiss it as just a ‘simple mistake’. However, as the plot thickens so too does the evidence as to Dogberry’s lack of vocabulary.

            In Act 3 Scene 3 he says “True, and they are to meddle with none but the Prince’s subjects: you shall also make no noise in the streets: for, for the .watch to babble and to talk, is most tolerable and not to be endured”. He meant to use the word ‘mingle’ instead of ‘meddle’ and ‘intolerable’ instead of ‘tolerable’. The readers after this sentence begin to put the pieces together and establish that Dogberry is undeniably doltish.

            The stupidity however doesn’t end there. In that very scene, he postulates “Truly I would not hang a dog by my will, much more a man who hath any honesty in him”. He, instead of using the word ‘more’ meant to use the word ‘less’.  “Adieu, be vigitant, I beseech you” he continues in response to the watch. Instead of ‘vigitant’ he indeed means ‘vigilant’.

            In Act 3 Scene 5, he states to Verges “Goodman Verges sir speaks a little off the matter, an old man sir, and his wits are not so blunt, as God help I would desire. they were, but in faith honest as the skin between his brows”. Once again, he mistakes ‘keen’ for ‘blunt’.  He continues, in response to Verges, saying “Comparisons are odorous”. He means odious in this sense.

            In Act 3 Scene 5 Page 74 Line 24, he says, “Our watch sir, have indeed comprehended two auspicious persons". He meant to use the words ‘apprehended’ and ‘suspicious’ instead of the underlined words.

            His last few malapropisms occur in Act 4 scene 2 where he states “Is our whole dissembly appeared?” instead of ‘dissembly’ he intended to say ‘assembly’. In this latter sentence, “O villain! thou wilt be condemned into everlasting redemption for this” Dogberry means to say ‘perdition’ instead of redemption.

            It is said that “Dogberry’s incongruous vocabulary becomes the main comic relief in the play and provides an important contrast to the troubles encountered by Claudio and Hero. Just as Beatrice and Benedick’s banter detaches us emotionally, Dogberry stops our lamenting over Claudio and Hero’s grave situation by preoccupying us; we are busy with the mental exercise of searching for his absurd mistakes. If the farcical comedy of Dogberry and his men were not present, nothing would exist to combat the evil Don John and his cohorts perpetrate, nothing to reaffirm the fact that everything will work out.” According to Free Much Ado About Nothing Essays:LittleHumour.