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In Shakespeare's Hamlet, there is much skepticism as to what exactly is "rotten in Denmark." Claudius, the "incestuous, adulterate beast," essentially adopts this title as he exists as the root of all evil within the play

He blames his theft of apples on the peer pressure he had when he did it. The lesson he learns here is that “friendship can be a dangerous enemy, a seduction of the mind. ” Like love, it must be subjected to reason if it is to be truly good.

Chapter 25, "Mr. Ara," begins with the gathering of neighborhood boys in front of Ara's market. August Gottlieb, Ulysses, Lionel, and other youths of Ithaca have just taken part in the theft of an apricot from Old Henderson's tree. Standing in front of the store, the boys revere the apricot as an item of sacrament. August, the boy who physically plucks it, is held in high regard for his bravery and efficiency. Although the apricot is hard and green and far from ripe, it has a deeper meaning to the young boys of the small town. The fruit is an item obtained in spite of the possible danger of getting caught by Henderson; it is considered an extremely well earned keepsake. The boys

It is in Act one scene two that we are first introduced to the character of Claudius. The impression made by him is that of a powerful and controlled man who is respected by most. His mannerisms of speech are graceful and are nothing less than the words of a king, 'to bear our heats with grief, and our whole kingdom.' Claudius is presented to us by

However, one of the things that made him a lunatic was how he acted in front of tons of people. As spoken before, his world has turned on him because of everything happening in his life. His dad has been brutally murdered and his uncle known as the malicious Claudius who married his unhappy mother became the king of Denmark. Later on he encounters a ghost who tells him who he is and how he died sadly. The story about how the eerie ghost died was about the superior king sleeping by a beautiful garden and suddenly a vicious snake poisoned him. Furthermore, it was the evil man who wears the bright crown and rules Denmark. After he found out that the creepy ghost was his mighty father, he wanted to avenge his dad. Due to this, he had to murder his cruel uncle because he was the person who killed his innocent father.

King went against the status quo in the things he said and did. He goes on to explain in his speech the multitude of unjust laws that present themselves to us today and the ramification that comes with having so called laws in place. An example of this is when King explains that there are some places where the law is just and others unjust. “For instance, I was arrested Friday on a charge of parading without a permit (King 3).” He goes on to say that there are

He tries to convince the colonists that the king is not a good man or ruler. As a matter of fact, he uses the situation to divide the right from the wrong. This shows that his goal is to display to the

This derives from the play as a recount of historical events with a known outcome and a medium for propaganda in support of the monarchy, an avid determinist. Nevertheless, the aforementioned tension is prevalent throughout and epitomised by the paradoxical pun ‘I am determined to prove a villain’. Uttered with a tone of poise and self-assuredness, the term ‘determined’ implies a conscious statement of purpose and a preordained villainy. Thus Richard is aligned with the stock character of the Vice, an instrument of predestination, and the innovative Machiavel, an advocator of humanism. Despite this, the ultimate decline of Richard is consequential of the reign of determinism. The directly antithetic correctio ‘I am a villain. Yet I lie, I am not’ yields an implicit self-doubt and acknowledgment of an inability to fulfil his humanist purpose. Providentialism thus displays precedence over self-determination. This is in direct contrast to Pacino’s docudrama, composed for a secular modern American audience disengaged with traditional notions of determinism. A greatly diminished and altered portrayal of Margaret, the primary instrument of determinism in the play, is expressive of this. Pacino devalues her curses by reducing her to a ‘sort of ghost of the past’. A frenzied montage of informative discourse and the activity of the play complete with

In Shakespeare’s play Hamlet, various characters manipulate others in order to gain power and fulfill their personal desires. The character who portrays the most immense manipulation is King Claudius, the brother of the late King Hamlet. Thus far, Claudius advertises himself as a sensible, honorable man who lives to serve the greater good, yet his manipulation exposes his dubious intentions, leaving him with an unfortunate fate.

Power and control are overbearing characteristics for some individuals in the works of literature. Claudius killed his own blood blood brother to gain the crown, kingdom, and

In the play Hamlet, Claudius is known as the villain of the play. He is the lead antagonist who is characterized as a cunning, incestuous, and vile, usurper. Many readers and critics of the play do not dispute this perception, especially after reading how Claudius became the King of Denmark; He steals the throne by poisoning his brother, the previous king, and quickly marrying Queen Gertrude his widowed sister in law (1.5.42, 60-74). The general reading of Claudius’s character paints him to be a corrupt, cowardly politician, in addition to being Hamlet’s (the protagonist) foe. This portrait engages first-time readers to judge Claudius immediately and although this perspective of his personality is proven to be true, it is limited. Claudius

One of the strengths of good theater is its ability to mirror the problems and conditions shaping its time. In The Merchant of Venice, William Shakespeare reflects two important aspects of Elizabethan society: the corrupting influence of prosperity and the increasingly vengeful nature of Venetian justice. To address the former issue, Shakespeare downplays the importance of wealth by associating its involvement in romance with superficial and insubstantial advantages. He characterizes prosperity as a deceiving agent, citing its ability to introduce shallowness into a relationship. Shakespeare reasons that genuine romance depends on sacrifice and emotion, not wealth. The problem with justice is equally striking. In the play, justice is

"I have only leaves and apples. Take my apples, Boy, and sell them in the city. Then you will be happy. And so the boy climbed up the tree and gathered her apples and carried

I feel like a heavy anchor sinking helplessly in a violent and thick sea; waves of a blood-stained clarity batter and bash my fragile body mercilessly and relentlessly. First, I see my mad son slay my husband’s dearest advisor through the tapestry of my own bedroom, and just now my once thought mad son has confessed there had been a method to his most distasteful lunacy, that it was nothing but a mask he donned to fool a, supposedly, equally imprudent King. “A murderer and a villain, a slave that is not twentieth part the tithe of your precedent lord.” That is what my dearest son said about Claudius.

The speaker then goes on to say that “For all that struck the earth, No matter if not bruised or spiked with stubble, went surely to the cider-apple heap as of no worth” (33-36). The bruises on the fruit represent the mistakes or misused chances, maybe even failure, but the fact that these bruised apples considered worthless and discarded seems to be an epiphany to the speaker. He is realizes that while these apples were bruised, cider still came from them. The discarded apples act as metaphors for all of the mistakes that he has made in his life, and he now understands that they are in fact not worthless, as much knowledge can be gained from examining one’s mistakes.