Etymology[ edit ] The etymology of the theonym prometheus is debated. The classical view is that it signifies "forethought," as that of his brother Epimetheus denotes "afterthought".
It, too, is a history play in a sense, dealing with a non-Christian civilization existing 16 centuries before Shakespeare wrote his plays. Roman history opened up for Shakespeare a world in which divine purpose could not be easily ascertained. The characters of Julius Caesar variously interpret the great event of the assassination of Caesar as one in which the gods are angry or disinterested or capricious or simply not there.
Human history in Julius Caesar seems to follow a pattern of rise and fall, in a way that is cyclical rather than divinely purposeful. Caesar enjoys his days of triumph, until he is cut down by the conspirators; Brutus and Cassius succeed to power, but not for long.
He and Cassius meet their destiny at the Battle of Philippi.
They are truly tragic figures, especially Brutus, in that their essential characters are their fate; Brutus is a good man but also proud and stubborn, and these latter qualities ultimately bring about his death. It shows what Shakespeare had to learn from Classical precedent as he set about looking for workable models in tragedy.
The tragedies Hamlet c. In form, Hamlet is a revenge tragedy. It features characteristics found in Titus as well: The act seems plausible and strongly motivated, and yet Hamlet sees at once that he has erred. He has killed the wrong man, even if Polonius has brought this on himself with his incessant spying.
Hamlet sees that he has offended heaven and that he will have to pay for his act. He also finds an opportunity for killing Claudius almost unpremeditatedly, spontaneously, as an act of reprisal for all that Claudius has done.
Hamlet thus finds tragic meaning in his own story. More broadly, too, he has searched for meaning in dilemmas of all sorts: His utterances are often despondent, relentlessly honest, and philosophically profound, as he ponders the nature of friendship, memory, romantic attachment, filial love, sensuous enslavement, corrupting habits drinking, sexual lustand almost every phase of human experience.
Click here for a video clip of Hamlet confronting his mother. Shakespeare was about 36 when he wrote this play.
Antony and Cleopatrawritten about —07 when Shakespeare was 42 or thereabouts, studies the exhilarating but ultimately dismaying phenomenon of midlife crisis.
Shakespeare moves his readers vicariously through these life experiences while he himself struggles to capture, in tragic form, their terrors and challenges. These plays are deeply concerned with domestic and family relationships. In Othello Desdemona is the only daughter of Brabantio, an aging senator of Venice, who dies heartbroken because his daughter has eloped with a dark-skinned man who is her senior by many years and is of another culture.
Driven by his own deeply irrational fear and hatred of women and seemingly mistrustful of his own masculinity, Iago can assuage his own inner torment only by persuading other men like Othello that their inevitable fate is to be cuckolded.
It bears remembering, however, that Shakespeare owed no loyalty to this Classical model. Hamlet, for one, is a play that does not work well in Aristotelian terms. The search for an Aristotelian hamartia has led all too often to the trite argument that Hamlet suffers from melancholia and a tragic inability to act, whereas a more plausible reading of the play argues that finding the right course of action is highly problematic for him and for everyone.
Daughters and fathers are also at the heart of the major dilemma in King Lear. In this configuration, Shakespeare does what he often does in his late plays: Both these erring elderly fathers are ultimately nurtured by the loyal children they have banished, but not before the play has tested to its absolute limit the proposition that evil can flourish in a bad world.
The gods seem indifferent, perhaps absent entirely; pleas to them for assistance go unheeded while the storm of fortune rains down on the heads of those who have trusted in conventional pieties.monologues male () A DAY IN THE DEATH OF JOE EGG by Peter Nicholls (ADAPTED) - BRIT A FEW GOOD MEN by Aaron Sorkin - LT.
COL. JESSUP A LIE OF THE MINDby Sam Shepard - FRANKIE A LIE OF THE MIND by Sam Shepard - JAKE A MAN FOR ALL SEASONS by Robert Bolt - MORE A MIDSUMMER NIGHT'S DREAM (ACT 3, SCENE 2) by William Shakespeare - PUCK A MIDSUMMER NIGHT'S DREAM (ACT 4, SCENE 1) by William. Shakespeare's Othello - Desdemona, the Heroine in Othello Essay Words | 8 Pages Desdemona, the Heroine in Othello In William Shakespeare’s Othello Michael Cassio’s praises of the richly blessed Desdemona, as he awaits her .
Do Othello and Desdemona Ever Consummate Their Marriage? Shakespeare scholar Harold Bloom thinks that Desdemona's virginity is the big driving question of the play. Bloom argues that Othello and Desdemona never had . Enjoying "Hamlet" by William Shakespeare Ed Friedlander, M.D.
[email protected] This website collects no information. If you e-mail me, neither your e-mail address nor any other information will ever be passed on to any third party, unless required by law. Like the audience, Desdemona seems able only to watch as her husband is driven insane with jealousy.
Though she maintains to the end that she is “guiltless,” Desdemona also forgives her husband (torosgazete.com ).
Her forgiveness of Othello may help the audience to forgive him as well.
Shakespeare's Desdemona is a Venetian beauty who enrages and disappoints her father, a Venetian senator, when she elopes with Othello, a Moorish man several years her senior. When her husband is deployed to Cyprus in the service of the Republic of Venice, Desdemona accompanies him.