There is a line in the play Julius Caesar by Shakespeare which states “There is a tide in the affairs of men /Which taken at the flood leads on to fortune”. My friends and family, I am proud to say that Clare Collins Newton represents that tide in my life and that of our two children. Consequently, because of her persistence, and by God’s grace, we were able to move from Brooklyn to Queens, and finally to Long Island. We give praise and thanks for the life we now live and enjoy. A great part of this enjoyment stems from the lasting social, financial, and spiritual relationships the family has developed with all of the wonderful people in attendance here today undoubtedly because of Clare’s warm inviting spirit, and personality. I have known
The play The Tragedy of Julius Caesar by William Shakespeare showcases many characters and events that go through many significant changes. One particular character that went through unique changes was Julius Caesar. The 16th century work is a lengthy tragedy about the antagonists Brutus and Cassius fighting with the protagonists Octavius, Antony, and Lepidus over the murder of Julius Caesar. Although the play’s main pushing conflict was the murder of Julius Caesar, he is considered a secondary character, but a protagonist. Throughout the theatrical work Julius Caesar’s actions, alliances, character developments, and internal and external conflicts display his diverse changes. William Shakespeare retold a very unique event
Imagine living a tragic existence, not even two entire decades long. Imagine being controlled by an invisible, yet limitless puppet string conducted by “the stars”. When fate is your enemy and time reveals each unraveling tragedy to your dismay, you understand how it feels to be the protagonist’s of Shakespeare’s most famous love story, The Tragedy of Romeo and Juliet. Tradition, heredity, and ancestry symbolize the celestial psychology that is the stars. Controlling every miniscule detail of the play from human behavior to action sequences, to the ultimate climax of the tale. The power that fate has is surprisingly destructible yet inevitable to audiences as they come to realize the given characteristics that cannot be changed, even to avoid death. The moment Romeo and Juliet initially saw one another, they were sure their love was meant to be. This feeling was brought on because their love was the solution of the stars, or forefathers, to cure the rivaling families’ animosity. Fate contributes to the development of The Tragedy of Romeo and Juliet by relating to astrological terms, human behavior, and fate as an agent of destruction.
A woman during the 16th century did not have the freedoms that a woman today enjoys. During Shakespeare’s life wives were not allowed the independence they take pleasure in today. Therefore, the role of the mother for Juliet in Shakespeare’s Romeo and Juliet is not commanding or authoritative because of the time period Shakespeare lived.
he has a high opinion of Hero and doesn't think that she would let him
...rruption and downfall. Shakespeare, with his valuable insight into society and human nature, poses for us the question; should we accept that what will be will be, or should we try to be the masters of our own fate?
Longfellow, Henry Wadsworth. “The Tide Rises, the Tide Falls”. Elements of Literature: Fifth Course. Austin: Holt, Rinehart and Winston, 2008. 196. Print.
The Novel Jane Eyre by Charlotte Bronte took a surprising twist when Bertha "Mason" Rochester was introduced. Bertha leaves a traumatizing impression on Jane’s conscious. However, this particular misfortunate event was insidiously accumulating prior to Jane’s arrival at Thornfield. Through Bertha, the potential alternative dark turn of events of Jane’s past are realized, thus bringing Jane closer to finding herself.
In the play The Tragedy of Julius Caesar by William Shakespeare, I saw two main characters as tragic heroes. First, I saw Julius Caesar as a tragic hero because his will to gain power was so strong that he ended up losing his life for it. The fact that he could have been such a strong leader was destroyed when he was killed by conspirators. I saw Marcus Brutus as a second tragic hero in this play. Brutus was such a noble character that did not deserve to die. The main reason why he did die, however, was because he had led a conspiracy against Caesar and eventually killed him. These two characters were the tragic heroes of the play in my opinion.
In the play the Life and Death of Julius Caesar (just as in all of Shakespeare’s tragedies) there is much death, much tragedy, and of course, a tragic hero. However unlike most of Shakespeare’s plays this time the tragic hero is not particularly obvious. Throughout the play a few main characters present themselves as possibilities for being the tragic hero. But as being a tragic hero is not only having a tragic flaw but also entails much more, there really is only one person to fit the mold. The character Brutus is born into power and is higher/better then we are. He has a tragic flaw that causes his downfall and at the end he realizes his mistake (a trait none of the other characters can really claim).
There is a line in the play Julius Caesar by Shakespeare which states “There is a tide in the affairs of men /Which taken at the flood leads on to fortune”. Clare Collins-Newton, metaphorically speaking, represents that tide in my life and also that of our two children Kristofer, and Zachary. I learned very early in our marriage to never doubt her drive to succeed. So It will not surprise anyone to learn that she spearheaded our first move from Brooklyn to Queens on a meager income when I thought it was not possible, and similarly the relocation to Baldwin Long Island. Clare and I give credit to the Lord for the comfortable life the family now lives and enjoys. It will be remiss of me, however, not to salute her for the tremendous sacrifices
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
Act two of Shakespeare’s Julius Caesar begins the detailed planning of Caesar’s assassination, which follows soon after in the third act. One particular passage of interest during this act is found in scene one. This particular passage deals with the conspirator’s justification of their motives for wanting to kill Caesar, as well as the fine-tuning of their machination. As is consistent throughout Julius Caesar, Shakespeare’s verse here differs much from his usual, flowery, beautifully poetic, and complicated verse that can be found in plays as Macbeth. The verse in Caesar is simple. This change in Shakespeare’s style has been attributed to his desire to imitate Roman society in this work, as to give the audience or the reader some context through which to receive the play, and to accurately portray his Roman characters.
Throughout many of Shakespeare's plays, a tragic hero is identified; a heroic figure that possesses a character flaw that leads to his defeat. In The Tragedy of Julius Caesar, there has been controversies over who is actually the tragic hero. Many people agree that Marcus Brutus is the tragic hero. However, others argue and identify Julius Caesar as the tragic hero. After examining these two characters, a conclusion is easily drawn. Brutus is the tragic hero of this play because when a person who possesses such heroic qualities dies, it is a true tragedy.
From the expansion days of Ancient Rome to the fall of the Roman Empire, women have always succumbed to living subjacent to the status of their omnipotent and dominant male figures. After leaving her childhood home and the rule of her father, a young Roman girl would then be coerced into the dominion of her husband, often taking a plethora of roles, ranging from lover, caretaker, and best friend. It is often lightheartedly stated that, “Behind every great man is an even greater woman,” and William Shakespeare exemplifies this concept beautifully in Julius Caesar, in which he effectively used the spouses of the two main characters to add more depth, drama, and literary elements to the play, bringing it to life. Although the only two female characters in Julius Caesar, Portia and Calpurnia do not play a pivotal role in the overall plot of the story, their presence is vital in illuminating and developing the characters of their husbands, Brutus and Caesar. What they reveal about their husbands leads the reader to infer that Portia is the more admirable and redeeming character.
Shakespeare was intending to represent several different groups of people in society through his plays and “The Tempest” was no exception to the rule. I aim to show how the “human” relationships in the play reflect real life relationships within Shakespeare’s own society (as well as his future audience), for which his plays were written and performed.