Consequences Of Sin In Shakespeare's Richard III

To establish the sinister intentions of Richard the actor, Shakespeare makes reference to his moral and physical impediments that leave him cursing “I that am not shaped for sportive tricks…I that am curtailed…”. Through the subtle use of anaphora and repetition of ‘I that am’, which is fleshed out by a definitive tone, the audience is made aware of how Richard is led ostensibly “to prove a villain” and thus, adopt a disguise. Moreover, Richard’s theatricality is stressed as he embarks as a ‘master’ of his own fate, for he perceives himself as “subtle, false, and treacherous”. His sinister intentions are exemplified by the use of tricolon, evocative word choice and short sentence patterning that create a sharp staccato effect. These intentions allow Shakespeare to subtly resonate Richard with the Vice from the medieval morality plays as well as the Renaissance Machiavelli who actively sought power, caused mischief, practised deceit and cynically gloats over his success. Moreover, Richard’s acting allows him to confide in his audience as he is paradoxically honest about his dishonesty, whilst also encouraging his audience not to detest him, but rather, take delight in his cleverness as the ‘director’ of the play. Thus, the opening soliloquy of Richard III offers an insight into how Richard manipulates the

Upon Richard's return to England, he learns of the events that had transpired in his absence. At first his own arrogance allows him to believe that since it is his God given right to rule as King, he will be protected. But then just as quickly, Richard's arrogance turns into despair upon the realization that Henry has gained support of the nobles and the people of England. Henry and Richard finally meet at Ramparts Castle leading to the climax of the play. Henry demands retribution for the allocation of his families' possessions and

Equivalently in the play Hamlet, the theme of guilt was developed through Hamlet and his most hateful enemy, King Claudius. Hamlet experiences guilt when he recognizes that he has not yet avenged his father’s death and in Act I Scene ii Hamlet reveals that he is upset and disappointed with himself, as he has not taken any actions to attain revenge from Claudius, the murderer of his father. Hamlet then calls himself, "a peasant slave" and questions, "What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, Had he motive and cue for passion That I have?" (Shakespeare, II, ii, 529. 538-541). Furthermore, Hamlet later decides to relief his overwhelming guilt by commanding the actors to re-enact his father’s death through The Murder of Gonzago, (Shakespeare, III, ii, 284), in order to confirm that the ghost was being truthful and Claudius did kill his father, “May be the devil, and the devil hath power T' assume a pleasing shape. Yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I’ll have grounds More relative than this. The play’s the thing Wherein I’ll catch

In Act III, scene I of Hamlet, by William Shakespeare, the thematic imagery, along with the symbolic use of syntax and diction that Shakespeare uses helps convey Hamlet’s state of mind as troubled and as having a painful view to life which, overall, is subtly expressed with weakness as he talked about death.

Richard III, by William Shakespeare, is a play based on the amount of power and decisiveness needed to become the king of England. The main character Richard of Gloucester is the brother of the current king. The fact that Richard is evil for no apparent reason troubles readers. Yet overtime, the audience begins to warm up to Richard in part because of his skill with words. Richard's obvious skill of language allows him to successfully manipulate nearly every character in the play. This skill enables him to woo Lady Anne, have Clarence thrown in prison, blame the king for Clarence's death, and achieve Hastings's execution, all without any harm to himself. Although Richard's use of words permits him to manipulate and control those

Prejudice is a preconceived opinion that is not based on reason or actual experience. Inside the novel To Kill a Mockingbird by Harper Lee has abounding prejudice theme factors within it. Such as one of the characters, Aunt Alexandra and her missionary group, Tom Robinson’s trial, and the people in the town who are being mad dogs. Prejudice is one of the most important themes in the novel

When Hamlet is first asked to avenge his fathers’ death his loyalty invades his thoughts and emotions leading to iritic behavior from Hamlet as form of procrastination, as he is unsure of the information he given by the possible ghost of his late father. Shakespeare has made use of the stylistic features of rhetorical questions and biblical language to communicate Hamlets morals and fears to act on his loyalty, “And I shall couple hell?”. “To be or not to be, that is the question, Whether ‘Tis nobler in the mind to suffer”, Shakespeare has used this rhetorical question within a soliloquy to question whether to live or not to live, then states that it is more noble to suffer life passively then conclude in suicide. Shakespeare has applied dualism to this question within his play, to act on loyalty or to suffer without revenging his father’s death. Shakespeare unlike Hosseini has created a revenge tragedy through the overwhelming theme of revenge, which expresses the true price of Hamlets inaction to act on loyalty, in which the play ends the death of many characters including hamlet and his mother

After Hamlet’s first interaction with his father’s ghost, he chooses to avenge his father. Hamlet's allegiance to avenge his father is expressed when he says, “Thy commandment all alone shall live, within the book and volume of my brain” (1.5, 109-110). However, in the next soliloquy, Hamlet criticizes himself for being slow to act. After hearing from a powerful actor, Hamlet calls himself a “John-a-dreams, unpregnant of cause” (2.2, 595) showing that Hamlet only dreams of revenge but does not enact on this urge.

Shakespeare’s and Pacino’s texts both depict Richard’s downfall due to his lack of conscience and virtues in his ambitious quest for power to reflect the beliefs of a Providential and secular society respectively. As such, Shakespeare's use of stichomythia and rhetorical question “Was ever woman in this humour wooed? Was ever woman in this humour won?” accentuates the lack of compassion and morality in Richard’s persuasive abilities to emotionally manipulate Anne to accept him as a suitor in his path to attain greatness. With Richard’s gratification of his achievement, Shakespeare illustrates the tyrant within Richard as his moral conscience diminishes due to over-ambition, hence reflecting the harsh Machiavellian politics in the Elizabethan era. Shakespeare’s underlying message on over-ambition is further exemplified through the dissolution of Richard’s unjust reign and mental stability through the death imagery in “It is now dead midnight. Cold fearful drops stand on my trembling flesh. What do I fear? Myself?”. Richard’s unstable mind in the ghosts’ precession, encapsulates Shakespeare’s message of the ramifications of sacrilegious acts whilst asserting God’s divine retribution on any form of theomachy ambition. In accordance to Shakespeare’s illustration of the fall of man due to ambition,

Shakespeare uses the short stage direction: “they fight; Richard is slain” followed by the animalistic and savage metaphor of “the bloody dog is dead” to convey Richard’s death. He uses animal imagery conveyed by Richmond along with the sudden and immediate death of Richard after he is willing to trade “a kingdom for a horse” to show his audience that God has carried out divine retribution due to Richard’s Machiavellian nature. Pacino transformed this scene so that it lead to a deeper understanding by his mainly secular 20th century audience. By undermining Richmond’s inglorious victory by having the soldiers shoot an arrow into Richard’s back, Pacino shows that Richard’s death was unfair. He also removed Richmond’s monologue to take the audience’s attention away from Richmond’s speech about god and the righteousness of divine retribution. Thus, by portraying conscience as being more important than divine retribution, Pacino transformed Shakespeare’s King Richard III to suit his context where Richard’s guilt killed

Coming immediately after the meeting with the Ghost of Hamlet’s father, Shakespeare uses his second soliloquy to present Hamlet’s initial responses to his new role of revenger. Shakespeare is not hesitant in foreboding the religious and metaphysical implications of this role, something widely explored in Elizabethan revenge tragedy, doing so in the first lines as Hamlet makes an invocation to ‘all you host of heaven’ and ‘earth’. Hamlet is shown to impulsively rationalize the ethical issues behind his task as he views it as a divine ordinance of justice, his fatalistic view reiterated at the end of scene 5 with the rhyming couplet ‘O cursed spite,/That ever I was born to set it right’. These ideas are

Another example of imagery in the story is when the author used it to describe Emily when she ask for poison to the druggist.“still a slight woman, though thinner than usual, with cold, haughty black eyes in a face the flesh of which was strained across the temples and about the eyes ockets as you imagine a lighthouse-keepers face ought to look”. The author makes emphasis in Emily’s face and eyes meaning that she is lost in her own world and foreshadows that Emily would use the poison for something wrong.

A study by Lechtenberg et al. (2015) points at another significant gendered difference: the components of therapy they found to be most helpful. According to Lechtenberg et al. (2015, p.98), while men and women both appreciate the use of male and female co-therapists and an emphasis on safety throughout the process, women were much more likely than men to value single-gender meetings before and after the conjoint sessions. While this may not have monumental implications, it does allow therapists to tailor their treatment, at least somewhat, around the particular aspects individuals find helpful. Men, who in general do not find these sessions particularly helpful, can be given alternative treatment.

In order to define a character as purely good or purely evil, one must take into consideration all of their actions and words. However, even then it may be hard to complete the task. The presence of these morally ambiguous characters are shown in the Shakespearean play, Hamlet, but by far the most morally ambiguous of all is Hamlet himself. The inability for the reader to place Hamlet’s true moral intentions fully into the realm of either evil or innocent gives meaning to the play’s overall message: while individuals can be mostly good or mostly evil, it is impossible to be just one or the other.

The origins of torture as a method of interrogation can be dated back to the 6th century AD, back to Roman times. Many high ranking Roman officials would use torture as a ways and means to extract information from their enemies. Many high ranking Roman jurists showed the virtues of torture; they stated that it would lead to the highest forms of truth coming true. In the ages to come, we saw a number of different European countires apply Roman law to their civil systems ( a la France and Italy). With regards to criminal proceedings, they system which began to be used required the testimony of two witness or the confession of the accused individual as proof of conviction (much like our current sentencing system today). Thus, this led to the need of “ the confession” to be even more important with regards to sentencing. Thus, increasingly “desperate ways” began to be used to garner this confession and interrogation and torture became “normalized:” in the civil law system and countries that used this ststem (such as the future USA).