Reefer Madness Essay

Ophelia in William Shakespeare's Hamlet “Follow her close, give her good watch, I pray you” (IV.5.73). Ostensibly, Shakespeare’s Hamlet is the riddling, enigmatic, inscrutable theatrical character par excellence. His motives, madness, conflicting morals and existential struggles are ambiguous to say the least. When analysing his character, Laertes and Fortinbras are often brought in as examples of less extreme characters dealing with similar but more tangible dilemmas. The idea that

After reading "The Author to her Book," it helps to know about the author's background. Anne Bradstreet wrote this poem after she had received her recently published book. The problem was that she did not want her book published. In her eyes, it was unfinished and full of mistakes. In the poem, she treats the book as a child and uses a satirical tone. Her choice of words and tone are very important to the theme of the poem. Some readers, mainly logical, would think that the author is simply talking

feigning his madness. What I do not know is if I believe this because it is what I was taught or if I came up with the idea myself based on my own interpretation. When I was taught Hamlet there was no argument it was just fact that he was faking his madness. Because of my confusion, I came to find that it may be interesting take out of the play any moment in which Hamlet makes the audience aware that he is only pretending that to be mad. I want to take out any proof that his madness isn’t real. The

What defines madness? Is it a state of being that is derived from deterioration of the brain, or is it just extremely foolish behavior created by mayhem and chaos? Perhaps, it is a collaboration of the two, for without sane cognition the basis of irrationality would not be present, such is the case of King Lear. He is a man riddled with madness inside and out, yet through his state of frenzy and turmoil, Lear unveils unexpected guidance, validity, and enlightenment. It seems impossible for two opposing

no say about it. Act 2, scene 1 serves as a turning point, as it is when Ophelia begins to realize the manipulation she faces at the hands of both her father and Hamlet, and that she can only truly gain her freedom when she herself descends into madness. Polonius’ manipulation, Hamlet’s control and Ophelia’s own thoughts and actions demonstrate her descent, and the aftermath. Polonius’ image and plans take precedence over his daughter’s physical and mental wellbeing. This leaves her vulnerable

In "Aladdin and the Wonderful Lamp" by Andrew Lang and "The Little Mermaid" by Hans Christian Anderson, both protagonist's pursue the object of their desire. In "Aladdin and the Wonderful Lamp," there's a protagonist named Aladdin, who is the son of a poor tailor. One day a magician approaches Aladdin by disguising himself as his uncle. The magician ends up taking advantage of Aladdin by using him to get a wonderful lamp. Aladdin without not knowing anything about the wonderful lamp goes with the

Madness is an idea that has been widely explored and theorized throughout the ages, particularly within Shakespearean literature and other works along those lines. It is nearly impossible to establish a working definition of madness itself, because there are so many different forms of madness shown throughout time, as well as different contexts. It breaks down to subjectivity, along with time and place, and situational circumstances. In Edgar Allan Poe’s “Tell-Tale Heart,” a perhaps unusual form

does in the present day, ideas of insanity and madness were speculated by the masses. Even today, in an era that has become so progressive in medical studies and knowledge, the topic still remains ambiguous. In the nineteenth century, there was a great deal of misunderstanding when it came to insanity, with this curiosity came artistic expression. As seen in the 1834 work of Alexander Pushkin, “The Queen of Spades,” the journey to this supposed madness is explored and traced through literal phrasing

The key theme of madness in Hamlet serves the critical roles of the play, serving to depict the chaos and turbulence reigning through the lives of all within the play. Characters portraying both feigned and authentic madness, such as Hamlet and Ophelia, serve pertinent roles displaying the corruption and destruction of the mind when left alone without a guiding figure, most significantly one in the role of a father, and restrained without a chance to speak freely. Shakespeare creates a definitive

and once again convinced his family members that we were mad (V. i. 270-272). Hamlet's descent back into madness was done in order to ensure his revenge plot be carried out. However, he does not remain mad the rest of the final act when Hamlet states, ““Hamlet: Give me your pardon, sir. I have done you wrong; But pardon't, as you are a gentleman,” he is signifying the end of his feigned madness and looking to start anew (V.ii.3863-3864). Hamlet’s growth throughout the play is overlooked as in the