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Macbeth drama analysis of act 2 scene 2
Macbeth drama analysis of act 2 scene 2
Macbeth drama analysis of act 2 scene 2
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SCENE II. Paris. The KING's palace.
Flourish of cornets. Enter the KING of France, with letters, and divers Attendants
KING
The Florentines and Senoys are by the ears;
Have fought with equal fortune and continue
A braving war.
First Lord
So 'tis reported, sir.
KING
Nay, 'tis most credible; we here received it
A certainty, vouch'd from our cousin Austria,
With caution that the Florentine will move us
For speedy aid; wherein our dearest friend
Prejudicates the business and would seem
To have us make denial.
First Lord
His love and wisdom,
Approved so to your majesty, may plead
For amplest credence.
KING
He hath arm'd our answer,
And Florence is denied before he comes:
Yet, for our gentlemen that mean to see
The Tuscan service, freely have they leave
To stand on either part.
Second Lord
It well may serve
A nursery to our gentry, who are sick
For breathing and exploit.
KING
What's he comes here?
Enter BERTRAM, LAFEU, and PAROLLES
First Lord
It is the Count Rousillon, my good lord,
Young Bertram.
KING
Youth, thou bear'st thy father's face;
Frank nature, rather curious than in haste,
Hath well composed thee. Thy father's moral parts
Mayst thou inherit too! Welcome to Paris.
BERTRAM
My thanks and duty are your majesty's.
KING
I would I had that corporal soundness now,
As when thy father and myself in friendship
First tried our soldiership! He did look far
Into the service of the time and was
Discipled of the bravest: he lasted long;
But on us both did haggish age steal on
And wore us out of act. It much repairs me
To talk of your good father. In his youth
He had the wit which I can well observe
To-day in our young lords; but they may jest
Till their own scorn return to them unnoted
Ere they can hide their levity in honour;
So like a courtier, contempt nor bitterness
Were in his pride or sharpness; if they were,
His equal had awaked them, and his honour,
Clock to itself, knew the true minute when
Exception bid him speak, and at this time
His tongue obey'd his hand: who were below him
He used as creatures of another place
And bow'd his eminent top to their low ranks,
Making them proud of his humility,
In their poor praise he humbled. Such a man
Might be a copy to these younger times;
Which, follow'd well, would demonstrate them now
But goers backward.
BERTRAM
His good remembrance, sir,
Lies richer in your thoughts than on his tomb;
So in approof lives not his epitaph
As in your royal speech.
KING
Would I were with him! He would always say--
Methinks I hear him now; his plausive words
He scatter'd not in ears, but grafted them,
Fulcher’s version of Urban II’s speech focuses firstly on the reprimands issued by Urban to the People of France for their infighting; He quotes Urban as addressing the council as being “Urged by necessity... come into these parts as an ambassador with a divine admonition” . He reports the Pope as complaining to ...
...e reinforces this through the examples provided above, also by discussing how displeased he is to see foreign nobles. Not only does this source provide insight into the minds of the British gentry of their opinions on France, but also insight into the social hierarchy of the eighteenth century. By the way Walpole expresses himself to the Earl of Strafford he composes himself as a servant of his and willing to perform any duties called upon him during his trip. This gives valuable comprehension of the lifestyle of those lower than their acquaintances in the hierarchy by showing how they are willing to help those in the aristocracy to better themselves and hopefully increase their standing in the future. Written from friend to friend Walpole clearly shows his admiration and loyalty to the Earl and gives wonderful understanding into the eighteenth century of England.
It is interesting to compare the relations between older and younger men in Henry IV and As You Like It. This essay will consider two extracts; 1 Henry IV, 2.4.109-62 (Bevington ed., pp. 182-6) and As You Like It, 2.3.27-77 (Brissenden ed., pp. 131-3). The two extracts differ dramatically in their approach to the relations between older and younger men.
May, Robert. “Lesson 6: The Early Modern Period.” English 110S Course Notes. Queen’s University. Kingston. Summer 2010. Course Manual.
The duke, who was thus driven from his dominions, retired with a few faithful followers to the forest of Arden; and here the good duke lived with his loving friends, who had put themselves into a voluntary exile for his sake, while their land and revenues enriched the false usurper; and custom soon made the life of careless ease they led here more sweet to them than the pomp and uneasy splendour of a courtier's life. Here they lived like the old Robin Hood of England, and to this forest many noble youths daily resorted from the court, and did fleet the time carelessly, as they did who lived in the golden age. In the summer they lay along under the fine shade of the large forest trees, marking the playful sports of the wild deer; and so fond were they of these poor dappled fools, who seemed to be the native inhabitants of the forest, that it grieved them to be forced to kill them to supply themselves with venison for their food. When the cold winds of winter made the duke feel the change of his adverse fortune, he would endure it patiently, and say: 'These chilling winds which blow upon my body are true counsellors; they do not flatter, but represent truly to me my condition; and though they bite sharply, their tooth is nothing like so keen as that of unkindness and ingratitude. I find that howsoever men speak against adversity, yet some sweet uses are to be extracted from it; like the jewel, precious for medicine, which is taken from the head of the -venomous and despised toad.' In this manner did the patient duke draw a useful moral from everything that he saw; and by the help of this moralizing turn, in that life of his, remote from public haunts, he could find tongues in trees, books in the running brooks, sermons in stones, and good in everything.
William Shakespeare often examines the personal transformation of characters in his works. His frequent illustrations of changing players most likely suggests that he is a true believer in the idea of people being able to emotionally grow. Moreso, the author essentially endorses the thought of developing humanity as a living being. Parallel to King Richard in Richard II, he illustrates many characters throughout his works whom undergo similar personal growth. Oftentimes these personal changes occur when a character suffers great loss in life. In this particular play these changes give the readers a chance to develop a bit of fondness in the once ignorant king. Most readers would normally accept positive changes within the mind and soul of characters. In Richard II, Shakespeare depicts the personal stages of King Richard. Ultimately, Richard is illustrated as one who finally embraces humanity, and, in turn, affects the readers’ final response to the ever-changed king in a positive way.
To start off, Shakespeare's elaborate use of figurative language is a huge reason why his writing is still taught centuries after his death. He used an extensive amount of this language to deliver a sense of emotion and depth in what his characters are saying. In some cases, Shakespeare will use figurative language to foreshadow future events in the play. For example, Friar Lawrence is talking to Romeo about the secret marriage he was being asked to do when he states, "These violent delights have violent ends. And in their triumph die, like fire and powder." In this case, Friar is basically reminding the audience that the forbidden lovers will die no matter how much they attempt to fix it. Shakespeare also uses figurative language to indicate a somewhat clear time period when actions take place. When Benvolio is talking to the Montagues about the last time he saw Romeo, he says, " An hour before the worshipped sun/ peered forth the golden window of the east." Shakespeare could have easily used simplistic language to explain the time of day the actions were taking place, but instead he personified the sun in a very pure and beautiful way.
The Duke of Ferrara was a very arrogant man. He did not seem to care about the happiness of his wife, only his own. He did not like the fact that she found happiness in other places beside himself, as if he should be the only life in her life. He could not understand how she could rank his nine thousand year old name with more simpler things such as her white mule that she rode on the terrace, an act of kindness from an "officious fool" and the "drooping of the daylight in the west." His wife, no doubt, had no idea he felt that way but he could not discuss it with her, blaming it on the fact that he had no skill in speech. He let the problem persist until he no longer could stand it and finally "gave commands" that in one way or another caused her death.
discover him to be proud, to be above his company, and above being pleased; and not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance, and being unworthy to be compared to his friend (7).
At the start of the play, the court lacks respect for the fellow man, for example, Duke Oliver, calls one of his faithful servants an “old dog,” inquiring that his servant is nothing but an old warn out servant. The court seems to be filled with hostility and maliciousness, for example, when Orlando won the wrestling match against Charles, he was denied the usual honor that the court gives to the winner but because Orlando’s deceased father used to be an enemy to one of the dukes who at the time was watching the fight, decided not to honor Orlando’s win because of an old grudge against his deceased father. The Duke, Frederick, saying, “I would thou hadst been son to some man else. The world esteemed thy father honorable, But I did find him still mine enemy. Thou shouldst have better pleased me with this deed Hadst thou descended from another house. Bu...
Both a social outcast and a social participant, Feste serves as an objective commentator on the organized society of his time. As the fool of both Lady Olivia and Duke Orsino, Feste is privy to a unique opportunity to not only intermingle with the common people of society, but with his superiors as well, thus gaining valuable insight into both the upper and the low...
Chesterfield, Lord. Lord Chesterfield's Letters (Oxford World's Classics). Oxford: Oxford University Press, USA, 2008. Print.
“What’s in a name? Would not a rose by any other name smell as sweet?” William Shakespeare, a name we have all heard at some point, but who is he? William Shakespeare, the man who has influenced our culture through his various literary works. What is the truth behind the brilliant man whom penned the renowned words filling the pages of the ever significant Romeo and Juliet, Much Ado About Nothing, or The Tempest?
One does not simply become the father of English literature. To be coined such a grandiose title requires the approval of many, and especially the king of England. Although an entertaining storyline does earn one respect as a writer/poet. It was Shakespeare’s masterful use of literary devices that garners the respect and acknowledgement of many modern day professors. In Act 3, Scene 1, Hamlet begins a soliloquy in which Shakespeare showcases his literary genius.
The Duke of Ferrara was made jealous by everything the duchess did, no matter how unimportant it was. He was especially jealous of Fra Pandolf, the man who painted the duchess in the poem. A woman should be pleased only by her husband, as was not the case with the duchess and Fra Pandolf. She was “too easily impressed'; by the painter (line 23). Fra Pandolf was not the only man that made the duke jealous. Everyone who passed the duchess received “much the same smile'; as the duke (line 44). The duke expected to be the only man to receive a smile from his wife.