William Shakespeare uses his plays not only to entertain the audience, but also to push the audience toward self-evaluation. The brilliance of Shakespeare is that his plays may be interpreted in different ways. The Tempest is not simply a fictional story meant to entertain the audience, but also a complete figurative narrative meant to mirror the art of the theatre. In this play each character represents a significant part in the alternate interpretation of the narrative. Examination of specific characters and their corresponding role in the theatrical world encourages a deeper understanding of self-reflexivity of The Tempest; which highlights William Shakespeare’s struggle to relinquish his art.
Bloom, however, takes Shakespeare and his characters out of dramatic con... ... middle of paper ... ...al world of Elizabethan England—essential to an understanding of Shakespeare’s history plays can easily be lost if we regard the characters as existing beyond their origins. We cannot neglect the social, intellectual, and historical context in which the histories derive their meaning. Bloom asserts that the plays’ characters transcend their origins and operate in a universe that is still being created. We can appreciate his thesis as it reverberates through our consciousness. Bloom has successfully helped us secure a new relationship with Shakespeare and his dramatic art.
With the help of Bottom, Oberon, and Puck, Shakespeare shows us that theatre, and even life itself, are illusions that one should remember to laugh at. In Bottom, Shakespeare pokes fun at the quirks in himself and in all plays and actors. By doing this, he makes light of the quirks in us all. To begin, the name "Bottom" has negative undertones, like "bottom of the heap," "bottom of the totem pole," and of course, one's behind. Bottom is a metaphorical ass that becomes a literal ass within the play.
Feste in Twelfth Night exemplifies this notion, “Nothing that is so is so” (Act IV scene i, line 8) Shakespeare uses Feste to foreground the artificiality of the complex theater and language systems that the audience absorbs, saying, ‘Nothing that seems real is how you perceive it’. It is a metadramatic irony that Shakespeare uses the fool to do this. Wor... ... middle of paper ... ...es artful language systems with the use of alliteration (‘r’ sounds) and puns (eyes, I) which is obviously artistic expression and unlike real life, foregrounding the theatrical systems to the audience and allowing them to enjoy the magical/unreal theme. This essay has examined the various CRITIC Patricia Waugh also provides a comprehensive definition by describing metafiction as "fictional writing which self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality" BIBLIOGRAPHY Scholes, Robert. "Metafiction."
These activities produce pleasure, thus it is not a mindless pleasure. There must be intellectual and emotional engagement on the spectator’s part. According to Aristotle, to stimulate the intellectual engagement of the audience and thus create this pleasure in the spectator, a masterful piece of art or literature must contain a degree of ambiguity in its ideas. This is the reason for the social commentaries that Shakespeare includes in his work: The play commences with two characters apparently arguing over money. Shakespeare immediately sets the mood of conflict for the remainder of the play, it is important because the reader at the outset is given a choice; who to believe and who is right.
William Shakespeare's Presentation of Iago, Othello, and Desdemona in Othello From the very beginning of the play ‘Othello’ Shakespeare presents the friendship between Iago and Othello as a lie. Shakespeare makes us see that Iago is only pretending to serve Othello for his own ends and following this on, Othello completely trusts Iago and is able to speak in confidence with him. All the way through the play, Shakespeare shapes the audiences response to make us want to like or dislike them, admire or have sympathy for them. From the moment the play opens, Shakespeare gives us a negative impression of Iago. Shakespeare presents Iago to us as a dishonest and false-hearted character.
The theatrical plot also progresses with the comedic relief inserted in the play. Shakespeare brilliantly develops his characters in a comedic way that continues the plot and eases his spectators. If writers chose not to offset tragedy with comedy, the story would simply be too depressing to entertain the vast audiences. Therefore, it is fair to surmise that without comedic relief, Hamlet may not have been the iconic story it has become.
The comparisons drawn between Beatrice and Benedick's love and the superficial love of Hero and Claudio are typical of the constant contrasts that Shakespeare builds into this play, comical or otherwise. It is in this way that Shakespeare manages to cross-reference almost all of his characters with each other; ` the 'wise' Beatrice with the 'modest' Hero, the 'valiant' Benedick with 'Sir boy,' the young Claudio. This emphasises their strengths and highlights their weaknesses respectively. By this he makes them more interesting, and so more realistic, pointing out things about the society in which the play was written, and about human relationships as a whole. One of the topics Shakespeare is especially fond of is that of Love being a force for good in society, improving anyone who is infatuated with it.
Hamlet – its Universality What secrets of dramatic genius underpin the universal acceptance of Shakespeare’s tragedy Hamlet so long after its composition? Harold Bloom in the Introduction to Modern Critical Interpretations: Hamlet explains one very solid basis for the universal appeal of this drama -- the popular innovation in characterization made by the Bard: Before Shakespeare, representations in literature may change as they speak, but they do not change because of what they say. Shakespearean representation turns upon his persons listening to themselves simultaneously with our listening, and learning and changing even as we learn and change. Falstaff delights himself as much as he delights us, and Hamlet modifies himself by studying his own modifications. Ever since, Falstaff has been the inescapable model for nearly all wit, and Hamlet the paradigm for all introspection.
Some audience members may appreciate the contrast in tone between Act I and Act II and embrace it. Shakespearean purists may detest the comedic antics of Act I and the immaturity used to characterize the titular characters. Nevertheless, the production, inarguably, interprets Shakespeare’s play in an original context while maintaining the most important themes and plot events. Considering many adaptations of Romeo and Juliet simply reinforce archaic representations of the story or distort the underlying significance of the entire play, this production is one worth remembering.