Tropes and figures of speech:
It is in giving that we receive;
It is in pardoning, that we are pardoned.
Figure: Paradox
- It seems contrary to rational thought that in giving away material or other items we will receive something that will equate our loses.
- The desired effect is to promote a community and unity in a group inclined to support each other. This is in the belief that a group of people working together for a common goal are more powerful then a single person working to the same ends. However this system only works with those people embracing a similar theology.
The stars are not wanted now: put out everyone
Pack up the moon and dismantle the sun
Put away the ocean and sweep up the wood
For nothing now can come to any
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This phrase adds another dimension to the passage giving directions to the crowd to ease the sorrow beyond the fanciful need for the heavens to re-order.
- The same phrase is used initially for ‘real’ directions then digresses for fanciful commands to the natural world.
This accident is not unlike my dreams
Belief of it oppresses me already
Figure: Understatement (I looked up the meaning of this passage)
- This understatement revolves around the racism of the speaker against the Moors. This predisposition appears multiple times in the play. This ‘accident’ is the reality he always feared in his dreams or nightmares.
- The effect is that what he has always feared, that he would be connected to a Moor, has occurred. The racism is significant part of the character as known by the audience.
Take thy fortune
Thou find’st to be too busy is some danger Figure: Paradox,
- As why would a person be happy dead even though Polonius gotten what he wanted in the form of gossip?
- The irony of this passage is that the body in the end considered the potential of gossip worth more then any threat of to his person. In the end the courtier succeeded in his purpose in spying for the king but his ‘fortune’ dies with
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While a wimsy relationship will only lead to regrets and heavy hearts in the end.
8. “You - know - nothing. Of course you know nothing” said Mr. Alleyne. “Tell me,” he added, glancing first for approval to the lady beside him. “do you take me for a fool? Do you think me an utter fool?”
Figure: Anaphora, Rhetorical question
- Anaphora is used in the repletion of nothing but with different tones. Two rhetorical questions are used for the same purpose.
- Nothing is first used in a statement mimicking the employee’s then used again as a mockery of the employee’s apparent attempt to hoodwink him. The rhetorical questions show the annoyance of Mr. Alleyne in regards to the actions of the employee. When in fact the employee has if not for the women beside Mr. Alleyne encouraging him on.
9. I love thee freely, as men strive for right;
I love thee purely, as they turn from praise.
figure: Anaphora
- Anaphora appears in the repetition of the beginning words of each line ‘ I love thee’ then an adjective ending in ‘ly’. Then the portion of each line with ‘as’ then men then a proper noun as
Patrick Henry uses rhetorical questions to make his audience contemplate about the answers to those questions. When an audience member replies with an answer, this will further the support for Henry’s argument. The supporting evidence from this answer will help develop his claim even more, therefore making his argument additionally valid. Patrick Henry also uses rhetorical questions to cause compelling reactions in his audience that will hopefully bring them to his side of the
Heinrichs had previously worked as a journalist before becoming a full time writer and advocate for rhetoric. He utilizes illustrative examples to convey rhetorical concepts. Furthermore, chapter four reveals the most valuable logos and pathos tactic. Lastly, this book’s use should be continued in this course.
Polonius, his [Hamlet’s] seeming opposite in so many ways, is, like Hamlet, an inveterate punster. To whom else but Polonius should Hamlet direct the taunt of “Words, words, words”? The aged counselor recalls that in his youth he “suffered much extremity for love, very near this,” and he has been an actor at the university. Polonius too has advice for the players: “Seneca cannot be too heavy, nor Plautus too light.” When Hamlet jibes at “so capital a calf” enacting Julius Caesar, killed in the Capitol, he reinforces the parallel to his own playacting and anticipates the slaying of Polonius behind the arras. (4)
For example, the authors use alliteration in a particularly slow section about parenting experts, saying that many experts’ arguments “reek with restraint” (234). Along with alliteration, the use of rhetorical questions is another example of rhetorical devices used by the authors.
In Hamlet, The new king Claudius is able to gain respect from the kingdom. He even steals the love of Hamlet’s mother Gertrude. The old king’s councilor, Polonius, becomes Claudius’s councilor and his best friend. He helps Claudius keep an eye on Hamlet and tries to keep him from finding out anything about his father’s death. Polonius believes that if he helps Claudius that he can make life better for himself and for his daughter and son. But in the end, his actions get him slayed, drive his daughter to insanity, and eventually set...
In this essay, I will be analyzing the Traditional method of rhetorical criticism and the Narrative method of rhetorical criticism.
...ot he was completely guilty for Polonius’s death, but as I studied his actions and mannerisms I came to the conclusion he was guilty of both. I was assured when his feelings of depression over his fathers continued and his only goal in life became power over the situation and avenging him. Being in control became somewhat of an obsession because he thought he could overcome any situation if that was the case, but it was just a simple minded way of trying to justify the situation. When you pretend to be something for so long it either unintentionally reflects off you automatically, you begin to forget whom you really are and what you stand for, or you end up liking the front you’ve created for yourself more than your true self; and I believe that is exactly what happened.
The classic tragedy Hamlet, written by William Shakespeare, tells the story of a vengeful nephew dealing with a fratricidal uncle. The play concludes with the majority of the main characters dead. The deaths of these characters are all consequences of their respective flaws. The flaws of Polonius and his two children conspicuously allow for their untimely deaths
Philosopher Friedrich Nietzsche once declared, “It is impossible to suffer without making someone pay for it.” In other words, when one is suffering, the desire to reap revenge without consideration as to who is being harmed in the process is innate. This is a common theme within the poem The Epic of Gilgamesh, Euripides tragic play, Medea, and Shakespeare’s play, The Tragedy of Hamlet. Characterization is used in these three works to exemplify the revenge seeker’s disregard for anyone but themselves in order to take vengeance on those who committed an act against them.
Following the performance of “The Mousetrap”, Hamlet is summoned to his mother's chamber. Upon arguing with Gertrude over the intentions of his play, and his reasons for wanting to distress the king so openly, Hamlet kills Polonius. “How now? A rat? Dead for a ducat, dead (III.iv.27-28)! Perhaps Hamlet did not know whom he was killing. “Thou wretched, rash, intruding fool, farewell! / I took thee for thy better”(III.iv.38-39)! Perhaps Hamlet thought he was killing the king.
...never truly know another’s inner nature. If Hamlet’s scenario is not convincing enough, an examination of the situations of Polonius— whose attempts to see into Hamlet’s interior based on Hamlet’s actions get him killed— and Claudius— who also falls prey to the belief that his soul is impenetrable and dies as a result of it— may be helpful. As Hamlet demonstrates, there exist certain moral principles beyond human control, and sometimes, as in Hamlet’s case, they are better left unchallenged.
...ooms Laertes as it did Hamlet, because it clouds his judgment. His rashness causes him to be easily played by Claudius. Regardless of the fact that Hamlet killed Polonius, Claudius never specified that it was an accident, which could have played a major role in Laertes’ decision to go along with the King’s plan.
... the only way to honour his father Polonius is by killing Hamlet. In addition, as Claudius reads the letter from Hamlet to Laertes he says “'Tis Hamlet’s character. “Naked” And in a postscript here, he says “alone.” Can you advise me?” (IV, VII, 52-53). This shows that Claudius takes advantage of Hamlet’s return alone as an opportunity for Laertes to kill him. Through Claudius’s actions the readers observe how he deceives Laertes into killing Hamlet for his own benefit without getting blood on his hands. Furthermore, Claudius’ desperation to kill Hamlet leads to him losing sight of what is important, which is being the king of Denmark, what he originally wanted, instead the lies he told and the manipulation he spread is now taking over. To conclude, it is evident through the play that the words and actions of Claudius have only lead to the spread of deception.
During Act One, Scene Two, Hamlet admits to being depressed over the death of his father and mother’s remarriage. The death of Polonius does not even seem to bother Hamlet the slightest bit. Soon after he commits the unforgivable act of murder against Polonius, Hamlet says, “Thou wretched rash, intruding fool, farewell. I took thee for thy good” (3.4.32-33).
Polonius is over-eager and tries to give unwanted advice, during the play he is tactless and often rude. For instance, Polonius is a comic relief during his conversation with Gertrude and Claudius regarding Hamlet’s madness. Polonius rambling through his conversation contrasts with Gertrude’s seriousness of wanting to find out the reason to Hamlet’s madness. As Polonius begins to deliver to the king and queen the results of his investigation, he makes this statement, “My liege, and madam, to expostulate/ What majesty should be, what duty is,/ What day is day, night is night, and time is time,/ Were nothing but to waste night, day, and time;/ Therefore, since brevity is the soul of wit,/ And tediousness the limbs and outward flourishes,/ I will be brief. Your noble son is mad. . . .”(IIii,86-92) . Polonius’ speech is windy and nonsensical he wastes ti...