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
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