Observations on As You Like It
As You Like It will be for many of you a rather difficult play to appreciate and interpret simply on the basis of a reading. The reasons for this are not difficult to ascertain. The play is, as I have observed, a pastoral comedy, that is, a comedy which involves a traditional literary style of moving sophisticated urban courtiers out into the countryside, where they have to deal with life in a very different manner from that of the aristocratic court. This play, like others in the Pastoral tradition, freely departs from naturalism, and in As You Like It (certainly by comparison with the History plays) there is little attempt to maintain any consistently naturalistic style.
This can create problems for readers unfamiliar with the conventions of pastoral, especially those who find it just too artificial and incredible to grasp imaginatively. After all, how are we to understand the unmotivated family hatreds which launch the action? We are simply not given any sufficiently detailed look at why Oliver hates Orlando (he himself does not understand the reason) or why Duke Frederick hates Duke Senior and turns on Rosalind so suddenly or, what is most surprising of all, why the nasty people whose animosities have given rise to the plot so suddenly and so conveniently convert and become nice people just in time to wind the plot up happily under the supervision of the goddess Hymen, the Greek deity of marriage, who arrives as an unexpected but welcome guest.
But these features of the plot which we might find unconvincing if we demand naturalism (that is, if we insist on treating the play as a "Hence" story) are little more than standard plot devices in "And then" stories, common in a genre like pastoral, which makes no claims to naturalistic motivation. Such plotting serves to launch and to conclude the comic confusion. The main point of the play here, after all, is not the working out of a carefully constructed plot, but rather the various encounters which take place in the Forest of Ardenne. In fact, the structure of the play is less a carefully complex and unfolding plot than a series of conversations between characters who happen to run into each other amid the trees.
Throughout the Non-fiction novel In Cold Blood Truman Capote convinces the reader the idea of death penalty as a punishment, seeing it as hypocritical. This is achieved through Capote’s ability to succeed to the reader’s credibility and emotions.
In Cold Blood should be kept on high school required reading lists because it presents readers with a myriad of new information, encourages them to analyze the context of an author 's opinions and experiences, and challenges them to identify and discuss themes from the book. Each of these skills is useful for students to master before entering college, as they will be frequently required to absorb, examine, and draw conclusions from various passages. By reading In Cold Blood in high school, students will be well equipped to enter college and life beyond college as mature analysts of the
In Cold Blood, a novel written by Truman Capote and published in 1966, is, though written like fiction, a true account of the murder of the Clutter family of Holcomb, Kansas in 1959. This evocative story illuminates new insights into the minds of criminals, and how society tends to act as a whole, and achieves its purpose by utilizing many of the techniques presented in Thomas C. Foster’s How to Read Literature Like a Professor. In In Cold Blood, Capote uses symbols of escape and American values, and recurring themes of egotism and family to provide a new perspective on crime and illustrate an in-depth look at why people do the things they do.
In Truman Capote’s famous non-fiction novel, In Cold Blood, there is evidence that supports the injustices of the trial: death penalty. The final outcome of the trail was never to be any different than death. “Of all the people in all the world, the Clutters were the least likely to be murdered” (Capote 85). We know the two men who killed the Clutter family, Perry Smith and Bill Hickock, preplanned the crime with malice and forethought. Although the actions were crul and grusome, does Death Row fit what they did if their pasts, childhood environments and situation, are bad. Capote shows the effect of childhood on the killers and if the death penalty is fair. Capote gives the killers a voice to show their humanity by giving childhood accounts of their lives. He questions the justice of is the death penalty fair, and if inherent evil is a product of childhood or society. Is it nature or nurture? Capote gives a look into the minds of the killers and the nature vs. nurture theory. The detailed account the killers’ childhoods makes the reader sympathize with the Clutter family’s killers Smith and Hickock. Should they reserve the death penalty? Did Truman Capote take a stand on the death penalty? By giving the readers a detailed accounting of Perry Smith’s and Dick Hickock’s childhood, Capote sets up the reader for nurture vs. nature debate on the death penalty. The question then becomes, do the effects (if any) caused by environment in childhood make for a trained killer or a natural born one?
He lied to Perry Smith and the police for his benefits. He lied to police because he said he would writing about how the murder had impacted the community, but he was writing about how the Clutter family was killed. Capote bribed a prison warren to attain access to Perry, a man involved in the Clutter family murder case. Moreover, Capote was writing a book with getting substantial information from the two men who were accused of brutal murder of an entire family at night, but he was hiding the title from the two killers. He wanted to make them believe that his writing was about their unjust trail. In a program, he said about the title of his book was “In Cold Blood” however when Perry asked him about it, he answered that he had to come up with the title and he gave it as a title, but that was not the real title. It seems clear that Capote’s behavior was questionable on how he attained access to Perry and how he lied to h...
Capote's structure in In Cold Blood is a subject that deserves discussion. The book is told from two alternating perspectives, that of the Clutter family who are the victims, and that of the two murderers, Dick Hickock and Perry Smith. The different perspectives allow the reader to relive both sides of the story; Capote presents them without bias. Capote masterfully utilizes the third person omniscient point of view to express the two perspectives. The non-chronological sequencing of some events emphasizes key scenes.
Truman Capote finds different ways to humanize the killers throughout his novel In Cold Blood. He begins this novel by explaining the town of Holcomb and the Clutter family. He makes them an honest, loving, wholesome family that play a central role in the town. They play a prominent role in everyone’s lives to create better well-being and opportunity. Capote ends his beginning explanation of the plot by saying, “The suffering. The horror. They were dead. A whole family. Gentle, kindly people, people I knew --- murdered. You had to believe it, because it was really true” (Capote 66). Despite their kindness to the town, someone had the mental drive to murder them. Only a monster could do such a thing --- a mindless beast. However,
...-lover is in control, the woman is in a total opposite situation and the conversation has reached its limit and the ex-lover is cued to leave in a subtle but quick manner with a ‘departing smile’.
hetoric – ars bene dicendi – is, according to the antique definition, the art of speaking and writing well, adequate to the situation, proving morality and the desire to obtain an effect, an expression which can attract the general interest. According to W. Jens, it contains both the theory (ars rhetorica, the art of speaking), as well as the practice (ars oratoria, eloquence). Rhetoric created, as theory (rhetorica docens), a multitude of categories to produce (and analyse) some efficient texts.
In Truman Capote’s non-fiction novel In Cold Blood, the Clutter family’s murderers, Perry Smith and Dick Hickock, are exposed like never before. The novel allows the reader to experience an intimate understanding of the murderer’s pasts, thoughts, and feelings. It goes into great detail of Smith and Hickock’s pasts which helps to explain the path of life they were walking leading up to the murder’s, as well as the thought’s that were running through their minds after the killings.
In 1966, Truman Capote published the novel In Cold Blood that pierced the boundaries of literary genres, as he narrated the events of the 1959 Clutter family massacre in the small town of Holcomb, Kansas and the quest that took place afterwards through the perspectives both the murderers and those looking for them. As Capote bends these genre normalities, he ventures with the killers and the detectives and describes the murderers’ lives in-depth to further characterize Dick Hickock and Perry Smith--their psychological states and the possible contributing factors to their undeniable personality disorders. The two killers are ultimately diagnosed by a mental health professional with mental illnesses rather than chronic personality disorders,
In the nonfiction novel, “In Cold Blood” by Truman Capote, the author tells a story of the murderers and victims of a slaughter case in Holcomb, Kansas. Instead of writing a book on the murder case as a crime report, the author decides to write about the people. The people we learn about are the killers, Dick and Perry, and the murdered family, the Clutters. The author describes how each family was and makes the portrayals of Dick and Perry’s family different from the Clutters.The portrayal of the Clutters and of Dick and Perry’s families, was used to describe what the American Dream was for each character. In the beginning we learn about what type of family the Clutters were and how they represented the American Dream for the people of Holcomb.
Truman Capote put-to-words a captivating tale of two monsters who committed four murders in cold blood. However, despite their atrocities, Capote still managed to sway his readers into a mood of compassion. Although, his tone may have transformed several times throughout the book, his overall purpose never altered.
In the passage from Act 1, Scene 2 through the use of language and dramatic effect Shakespeare explores and expands the character of Hamlet, also enforcing themes such as gender and desire.
The poem is not said to of been set in a particular place but I