In Henry V, Branagh is relatively unconcerned with the actual Elizabethan context of Henry V or the historical accuracy of the film. Therefore Branagh updates Henry V through reflecting modern values and also removes the play from its political context. In correlation to the trend of literary criticism, productions of Henry V have been prone to favouring the Folio text over the Quarto text. As Patterson notes the Quarto is not only shorter than the folio but their content and politics are radically different: The two surviving texts of Henry V point in different interpretive directions; the folio can possibly sustain the hypothesis of ideological confusion or deliberate ambiguity; whereas the theses of Campbell and Tillyard could be better supported by The Cronicle History of Henry the fifth, the first Quarto version, which has long been ruled out of interpretative account by Shakespearean bibliographers, and placed in the evaluative category of the ‘Bad Quartos’, that is to say, beyond interpretive reach. The Quarto versions of Shakespeare’s play have often been assumed to be memorial reconstructions or the products of piratical printers in league with avaricious players.
It is clear, certainly, how concern... ... middle of paper ... ...n behind the words and appearances. Yet much as they do Hamlet, words begin to rebel against Paterson, ambushing him in his quest for their concealed truths. A more nuanced reading of Hamlet is perhaps less satisfying, as it fails to provide the reader with a neat answer. Yet, like Hamlet, the audience is ultimately unwilling to forgo truth for artifice. When the audience brushes away Paterson’s artifice, they come to find a more complicated relationship between word and deed, even in the play’s final moments--yet, ultimately a more fruitful relationship as well.
Reason and love in A Midsummer Night’s Dream Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127), yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts.
Character of Hamlet "Wer gar zu viel bedenkt wird wenig leisten" -Schiller " He who reflects too much will accomplish little" It is impossible to attain completeness in the assessment of any one's character and more so in the case of Hamlet's, for its note are complex and mysterious. But on rigorous study, Hamlet's character can be described though partly but adequately by the above quote. 'Hamlet' is the most famous, the most popular play in the English language. But to quote T.S.Eliot -"So far from being Shakespeare's masterpiece, the play is most certainly an artistic failureâ€¦. And probably more people have thought Hamlet a work of art because they found it interesting, than have found it interesting because it is a work of art.
Another critic, Anne Barton, insinuates that “Horatio astonishes us by leaving out everything that seems important, reducing all that is distinctive about this play to a plot stereotype” (qtd. in Kiefer 185). This indicates that instead of retelling the details of the story, Horatio calls the series of events accidental as if it was a play. It is true that Horatio does not reveal everything to the audience, since he is a
Shakespeare may have been an excellent play writer to most, but arguably was not the best. After reading W.H. Auden’s critical response about Shakespeare’s A Midsummer Night’s Dream, Auden suggests that Shakespeare sees art as a waste of time, “a bore.” Auden picks up on Shakespeare’s passion towards his work, but doesn’t see the passion towards art. This led Auden to believe that Shakespeare never takes himself too seriously. Auden doesn’t agree with Shakespeare’s beliefs on art, therefore Auden doesn’t see Shakespeare as the best.
No Tragic Flaw in Hamlet It was my observation after reading Hamlet, that the play and its main character are not typical examples of tragedy and contain a questionable "tragic flaw" in the tragic hero. I chose this topic because Hamlet is a tragedy, but one that is very different from classical tragedies such as Medea. I also found quite a lot of controversial debate over the play and its leading character. While reading through my notes, I found that, according to Aristotle, "the tragic hero will most effectively evoke both our pity and terror if he is neither thoroughly good nor evil but a mixture of both; and also that the tragic effect will be stronger if the hero is better than we are in the sense that he is of higher than ordinary moral worth. Such a man is exhibited as suffering a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia ("error of judgment") or his tragic flaw."
Yet, there is no reason to feel this way because Macbeth is all evil, and in the end, the "good guy" is restored to power. Shakespeare put forth good effort in trying to make Macbeth a tragedy, but he came up too short. Works Cited: Shakespeare, William. “Macbeth.” The Complete Works of Shakespeare. Ed.
Many stories, such as Othello by the famous playwright William Shakespeare, have characters that may seem flawless on the outside, but when imperfections are portrayed, the truth is exposed. The character Othello, from the tragedy Othello, is portrayed as faultless in many ways in the beginning. However, as the story goes on, many unattractive qualities are revealed through Othello’s actions. One flaw of his is that he is too trusting. Othello believes Iago’s lies and so unable to trust from then on.
The Tempest is not one of these works. This story realizes that it is impossible to have the good aspect of human nature without the bad. Caliban helps the reader realize that the difference between good and bad people is the way in which the hidden dark side manifests itself to the outside world. Ostensibly, The Tempest is a play based around Prospero: his power to punish versus his power to forgive. ?Many scholars believe that this is a semi-autobiographical work, written towards the end of Shakespeare's literary career?