In order to grow and learn as a person, one must be a dynamic person and not static. A character is dynamic when a person undergoes an important inner transformation in their personality and/or attitude. A static character is the opposite of dynamic; static characters are defined in such a way that the character does not portray any changes from the beginning of the story to the end of the story. In Shakespeare’s play, The Winter’s Tale, there are a couple of characters that are dynamic, but there are also characters that are static. First of all, dynamic characters are those who either learn a lesson from something that happened to them or are otherwise altered by what they have faced and experienced. These types of characters provide …show more content…
Leontes starts from talking to Hermione in blank verses that are calm by stating “Why, that was when/ Three crabbed months had soured themselves to death /Ere I could make thee open thy white hand/ And Clap thyself my love” (1.2.102-105) to saying “...paddling palms and pinching fingers, / As now they are, and making practiced smiles…” (1.2.116-117). This shows how Leontes goes from a calm tone to harsher tones by using plosive language that helps to display the anger he has when he is describing what just happened between Hermione and Polixenes. As Leontes’s jealousy grows, so does his rage towards others. This leads Leontes to feel as if no one else can see the real truth of what has just happened between his wife and best friend. Also, the reason to his change of language could also be due to the fact that Leontes is becoming scared of Hermione because he sees how Hermione can be powerful enough to convince the King of Bohemia to stay, whereas he could not. Leontes then uses his kingly power and a mix of strong language to threaten others and believes that he has to talk in a certain way and keep changing in order to make other people around him feel that he is in power and that they are …show more content…
Even though she is the daughter of the Emperor of Russia, she never does dishonor Leontes during his time of jealousy. At the beginning of the play, Hermione is seen as this devoted wife who loves her king very dearly and even utters to Leontes, “I am yours forever” (1.2.106). At the end of the play, her loves towards Leontes is still the same and stands true. Hermione may seem that she is a weak and submissive character during her first appearance in act 1, scene 2 and may not seem that she is a static character. This reason is due to the fact that, throughout the play, it looks that Hermione was submissive and as the play starts to unfold she turns into this strong woman. However, it may look that way, but deep down Hermione was always strong. It was because she valued her king so much that she did not really over step her line, which would give off the feeling that she is a submissive character at the very beginning. To prove that she was always strong and powerful from the start, there 's a part of the play when Polixenes, Leontes’s childhood friend, was about to leave their kingdom of Sicilia and Leontes was not able to convince Polixenes to stay a while longer. When he could not convince him to stay, he asks Hermione to convince him. Hermione tells Polixenes, “What lady she her lord. You’ll stay?” (1.2.45) but that does
I need to practice making my characters constant and reliable for the reader. I need to be able to follow the growth of the specific character and to keep them in that character. I had trouble with this in one of my Creative Folder essays, The Frenzies of the Reflected. I had to go back and erase parts that I had written of the character because she kept jumping around. I learned to build her up through her thoughts and then when she was given an action, it wouldn’t seem out of character.
In both plays such as Hamlet and A Raisin in the Sun all character in the story face internal conflicts that lead to the overall meaning of the play. From Hamlet King Claudius faces internal conflict that adds to the dramatic events of tragedy in Denmark, In A Raisin in the Sun, Beneatha faces internal conflicts that enlarges African American women struggles in the 1950s, both character internal conflicts illuminates the meaning of the plays.
A dynamic character is defined as a character who undergoes an important change in their personality or attitude. The great protagonists in literature often go through an intense internal conflict, resulting in the character being perplexed as to which path is the right one to follow. Fahrenheit 451 by Ray Bradbury follows a protagonist, Guy Montag, as he struggles with the choice between carrying on living in a brainwashed society or developing his own perspective on life, thus contributing to the theme of knowledge overpowering ignorance.
Much of the dramatic action of Shakespeare’s tragedy, Hamlet is within the head of the main character, Hamlet. His wordplay represents the amazing, contradictory, unsettled, mocking, nature of his mind, as it is torn by disappointment and positive love, as Hamlet seeks both acceptance and punishment, action and stillness, and wishes for consummation and annihilation. He can be abruptly silent or vicious; he is capable of wild laughter and tears, and also polite badinage.
Though the evils of the world may discourage us from reaching our full potential, fairytales such as Little Snow-White by Jacob and Wilhelm Grimm teach us that good will always triumph over evil. As many tales of its kind, Little Snow-White uses a number of literary devices to attract a younger audience and communicate to them a lesson or moral that will remain with them throughout their lives. Since children have such an abstract stream of thought, it is vital to use language and devices that will appeal to them as to keep them interested in the story.
A character goes through many changes that depend on the kind of events they experience. The play “Romeo and Juliet” written by William Shakespeare, uses different tones and language that shows the readers that Juliet, a Protagonist, changes over time, proving the idea that she is a dynamic character. At the beginning of the play, we are introduced to a young, innocent and inexperienced girl, Juliet the daughter of Lord Capulet . She has not yet seen the real world and is raised by the person she trusts most, her nurse. Juliet begins as a naive child who has thought little about love and marriage, but she grows up quickly upon falling in love with Romeo, the son of her family’s great enemy. Due to the fact that Juliet is a girl in an aristocratic family, she has none of the freedom Romeo has to rome around the city, climb over walls in the middle of the night, or get into swordfights. As we begin to learn more about the character of Juliet, we learn that Juliet is not the girl she used to be anymore. She is more courageous and willing to break the rules. She goes against her and her family beliefs. In the beginning of the play she obeys her parents. But as the play descends Juliet is disregarding of what her parents say. She is no longer the innocent girl she use to be. Shakespeare use of language helps the reader to see the change in a character that makes them a dynamic character.
A character is a person in a story that plays a particular role. Stories require characters so that it forms conflicts, tensions and resolutions. Characters also carry certain traits to make the story interesting and unique. Each character might have different attributes. Others could have similar and different qualities. Those who read many novels might notice that characters from various books are similar to each other to an extent, but are not completely the same. The old English poem, Beowulf, and Shakespeare's Macbeth contain characters with similar characteristics. Beowulf and Macbeth share similar traits, but do not have the same objective. Comparing and contrasting determine the similarities and differences of things. Comparing and contrasting is an excellent tool to determine what is right and wrong. When choosing the best car to drive, comparing and contrasting helps in the choice of the best vehicle. Macbeth and Beowulf demonstrate that a warrior's motivations matter for both soldiers and the people.
I consider them to be a static and flat characters because they remain essentially the same at the end as they were at the beginning. They tend to have just one dimensional throughout the scene and they do not undergo significant growth or changes. An example of Flan would be when Ouisa his wife tries to help Paul out of jail but he refuses. He sticks with his ego and does not change his way of thinking. A key of action for this character would be when he was about to lose everything and next thing you know he sells his Cezanne for two million dollars to Geoffrey. Moreover, Conway is a lonely character that picks up a hustlers, which ended up to be Paul. His desire for him was strong that he gave Paul information about wealthy people in New York and prepared him to be one of them. A key of action for this character is when he mentioned Paul stole his address book, but didn’t want to press any charges. Was it because he was afraid or because he really did like
A dynamic character is one who changes greatly during the course of a novel. There are many fine examples of dynamic characters in all Dickens novels. Three of these characters are Dr. Alexandre Manette, Jerry Cruncher and Sydney Carton. Dynamic characters play a very apparent role in the novel A Tale of Two Cities by Charles Dickens.
Shakespeare depicts dynamic characters as progressive or regressive to show how a situation builds on their personal characterization. Shakespeare puts individuals into situations that push them to either progress or regress as a character. This characterization can be seen in two of his plays, Hamlet and King Lear. In Hamlet, the main character, Hamlet, falls into madness. The situations Hamlet is put in drives him further towards the state of Madness we see him in by the end of the play. This can also be seen in King Lear with the character, Kent. Unlike Hamlet, Kent jumps into his character, his progressive characterization is more rapid at first. Hamlet, however, has a slow transition into the madman he ends up portraying. Shakespeare shows
In the novel by John Steinbeck The Winter of our Discontent there are numerous ways one can relate Ethan’s life to the major themes theory. Throughout the novel Ethan is in a moral struggle to decide whether or not he should try and get ahead at any means possible, or remain in his menial grocery clerk job. His compassionate ways are actually holding him back financially, because he is surrounded by ruthless corporate men that will not think twice about attacking someone else for their financial self-interest.
One particular criterion character effectively supports the central idea in “Rip Van Winkle” by Washington Irving. The character's type develops with the personality development throughout the story. Three types of characters: round, flat, and stock, appear in most stories. The round character displays a fully developed personality and full emotions. Flat characters, also known as supporting characters, do not develop fully or express complex emotions. A stock character, also known as a stereotype, fits an established characterization from real life or literature. With these three types of characters leading the reader through the story, the reader learns the events taking place as well as the changes in the character’s lives. The author keeps the reader informed of the changes affecting the characters throughout the narrative through style. When a character undergoes a fundamental change in nature or personality during the story, the character has dynamic style. However, a character without change defines a static character. Although all characters have a style and type sometimes understanding the differences appears complicated. A chart often helps establish a better understanding of character type and style.
Othello is one of the typical Shakespearean plays in that it deals with the tragic hero. Othello is convinced that his wife, Desdemona, is cheating on him with Cassio. Beginning with the aperture lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer equivocally to a “he” or “him” for much of the first scene. When they commence to designate whom they are verbalizing about, especially once they stand beneath Brabanzio’s window, they do so with racial epithets, not designations. These include “the Moor” , “the thick-lips” , “an old ebony ram”, and “a Barbary horse” (Cite). Although Othello appears at the commencement of the second scene, we do not hear him called by his name until well into Act I, scene 3. Later, Othello’s will be the last of the three ships to arrive at Cyprus in Act II, scene 1; Othello will stand apart while Cassio and Iago suppositious discuss Desdemona in Act IV, scene 1; Othello will postulate that Cassio is dead without being present when the fight takes place in Act V, scene 1. Othello’s status as an outsider may be the reason he is such easy prey for Iago.
Cinderella’s mother passed away and her father remarried a woman who had two daughters from a previous marriage. A few weeks passed and a prince is holding a three day festival and all the beautiful young girls in the town were invited. Cinderella wanted to go but her evil stepmother gave her two impossible tasks to complete before she could attend the festival. Cinderella completes the two tasks with the help of her bird friends and her mother’s grave. Cinderella goes to the festival and she dances with the prince all three days. Finally, the prince has fallen in love with her and eventually they get married. Fairytales and Disney productions threaten gender politics and women’s role by portraying women in certain areas like domestic behaviors