Queen Elizabeth and Winston Churchill are both famously known in history but also for their speeches given. Queen Elizabeth was taxed with the task of rallying British commoners, many of them untrained farmers, to battle the Spanish Armada as they closed in on the coast of England in 1588. In 1940, three days into his new appointment as Prime Minister, Winston Churchill faced the daunting task of unifying the country during Britain’s involvement in World War II. Both figures had different audiences
commonwealth with sadness; Speeches by The Queen and Diana’s brother, The Earl, were necessary. As multiple populations were grieving and reminiscing over the loss of such a popular public patron, many were growing irritable and suspicious of the tragic car accident and the lack of communication from The Queen. With pressures rising, the funeral approaching, and individuals still looking for someone to blame, Queen Elizabeth and Earl Spencer each delivered their own speech regarding the recent events. Despite
In 1588, Queen Elizabeth I made an inspiring speech to the troops of England. She uses common language to address she is with her people to fight together and conquer the enemy. Queen Elizabeth has a oral speech, so she can express what particular things she wants emphasize. In Queen Elizabeth's speech to her troops, she uses rhetorical devices for the particular things she wants emphasized such as tone, symbolism, and ethos to show her affection for the troops. First off, she uses tone to portray
in the late 1500s and early 1600s, during the beginning of Renaissance and in a period known as the Elizabethan Age. The ascension of Queen Elizabeth to the throne in 1558 and her spiritual influence after a century of Protestant Reformation created great religious upheaval in the English society. Religion became an important part of society due to Queen Elizabeth’s mandatory Church of England attendance regulations. Catholicism was not a crime, however, it was illegal to hold or attend a mass. To
fascistic use of charm, Oberon’s ability to use incantations to unsettle Theseus’ early wish for perfect harmony (1.1.11-15) and control wild forces such as nature, other fairies and mankind, foregrounds the play’s action. Modeled after the power of speech-acts (utterances considered as actions, particularly in terms of its intention, purpose or effect), the theatrical use of charm I propose here predominantly resides in the vocal chords of a dictator (Oberon); that is, it can control, decisively affect