Chimes at Midnight

by the audience as the treatment of Falstaff is directly related to the understanding of the character of Prince Hal (later Henry V). Kenneth Branagh's Henry V, the BBC versions of parts one and two of Henry IV, and Orson Welles' amalgamation Chimes at Midnight all show Falstaff in different lights, producing three different takes, not only on the character himself, but also on the interpretation of Prince Hal, and the entire workings of the production. In the case of Kenneth

Throughout the course of Henry IV Parts 1 and 2 as well as Orson Welles’ “Chimes at Midnight” the audience is constantly being pulled between the strained father-son relationship of Prince Hal and Henry IV as well as the surrogate father-son relationship of Hal and Falstaff. It is evident throughout the film as well as in the text that Hal’s once carefree days of youth, his unfailing admiration and dedication to Falstaff are doomed to fail as indicated by an excellent use of foreshadowing in the

of derision; he’s made to be a fool in every aspect that the audience sees, starting from his appearance, his actions, and his interactions with the rest of the ensemble. Yet this comedic interpretation isn’t limited to the opera as seen in Chimes of Midnight (Welles 1965), a movie adaptation. Drawing from Henry Bergson’s theory of laughter as a social act, he asserts that laughter presents a form of complicity. As a result of the combination and nature of human and social activity it ultimately

were constrained to pause, momentarily in the performance, to hearken to the sound”. This quote shows the reader that everyone is worried because they stop all their movements to listen to the clock chime. Every time the clock chimed, the revelers were closer to dying. The text says, “While the chimes of the clock yet rang, it was observed that the giddiest grew pale.” This means that they realized that they were going to die and

something. Each color had a meaning to it. For example, the blue room showed peace and/or birth. Another room was the black room. The room was black with red window panes and that symbolize death. Another symbol was the clock. The clock chimes each hour till midnight. When the clocks ticks, it show how it ticking away your life. The clock also was black and black is the color that represents death. The location where the clock was, represent how the sun rises in the east and sets in

A summary of Edgar Allen Poe’s The Masque of the Red Death. No other disease was comparable to the Red Death, it was unlike any other. People who contracted this horrible disease quickly died from it. Living at the time of this epidemic, was a very powerful man, Prince Prospero. Prince Prospero was staying in a large castle like building, which was quite secluded. Prince Prospero had invited many on his friends to join him there for a masquerade party. Inside, there were seven suite-style rooms

In “The Masque of the Red Death” by Edgar Allan Poe the allegory of this story is death, symbolically and literally. The literal portion is about the Red Death and how no one can escape it. There is quite a lot of symbolism for the seventh room and how it portrays death. The seventh room symbolizes death because the room is, ‘...Closely shrouded in black velvet tapestries…’, and the room windows are also described as a blood color, and all of these descriptions are symbolizing death and because

The "Red Death" is described as a fatal disease, the symptoms include sharp pains, dizziness, bleeding, and red stains on the bodies and faces of the victims. The infection causes death within thirty minutes, and therefore any sign of the red stain on a man causes him to be shunned by the people. Prince Prospero remains happy and carefree, even with such a contagious disease, and invites a thousand of his healthy noble friends to join him in hiding his abbey (religious temple-ish large house), which

As it drew closer to midnight, a mysterious figure appeared in the crowd. No one had seen this guest before and they were all quite alarmed by his sudden arrival. "Then, summoning the wild courage of despair, a throng of the revelers at opne threw themselves into the black apartment

continues to hold extravagant parties for his fellow elite members of society. Rather than merely telling a series of events, Poe carries his readers throughout the many rooms and scenes that hold the Prince’s masquerade, up until the clock strikes midnight and the partygoers can no longer hide behind their façade, and death comes in to take those that thought themselves invincible (Poe 438-442). Death serves as both a prominent figure and symbol