An exploration of the way Shakespeare presents Claudius to the audience Essay Example for Free

An exploration of the way Shakespeare presents Claudius to the audience Essay The title of William Shakespeares Hamlet, would at first suggested its eponymous hero, Hamlet, is the major character. However, in a sense the whole play evolves around the character and actions of Claudius. Shakespeare has presented Claudius in a phrase as a smiling damned villain, whose greed and selfishness lead the way to his tragic killing of the King. This sums up Claudius excellently, as he has two sides to him, one the public side, smiling and the other the private side damned villain. Claudius starts his opening speech as king by saying, Though yet of Hamlet our dear brothers death (Act I Scene II, Line1) which creates the impression that his brothers death upsets him, but later it is revealed that he was the cause of it. This links in with the theme of seeming and being, where it appears that he is grieving but is actually not. Shakespeare has used seeming and being repeatedly to show the audience that, deception is one of the major parts of the play: My words fly up, my thoughts remain below words without thoughts never to heaven go. (Act III Scene V, Lines 97-8), This is Claudius confession where he tricks the audience and Hamlet into believing he wants forgiveness, but then find out it is not true. This is further highlighted when Claudius is speaking to Hamlet: here in the cheer and comfort of our eye(Act I Scene II, Line116). Again it appears as though Claudius is being caring and wants to look after him, in a way like a father would, but he has said this very cleverly and in reality implies that he wants to keep an eye on him. By using the Pritesh Kotecha Greenford High School words comfort and cheer, Claudius is seen to be passionate and genuine, and the way Shakespeare has presented him to be this skilled politician is essential to his character, as he uses his wit to get himself out of awkward situations. Claudius in several parts of the play uses the word our to manipulate people. In this case, it seems as though he means for him and Gertrude to keep and eye on Hamlet, but in reality he could perhaps be implying, if Hamlet was to do something wrong the whole state could be a witness. Claudius very cleverly uses the term our again at the end of the play: our son shall win(Act V Scene II, Line 190), which gives the impression that Hamlet and Claudius have settled their problems. He has very cleverly switched his attitude from your son to our son as the play progresses, purely because of his public appearance. Also he could have perhaps said this so that when Hamlet dies he would not be a suspect, as he seems so genuine and loving towards Hamlet. When Claudius says your son, he usually says it when he has done something wrong, and implies it is your son your problem. The image of heaven and God is often related to Claudius, not referring to him as a God, but Hamlet uses his father to make bold Claudius lustful character when he says: so excellent a king, that was to this Hyperion to a satyr. (Act I Scene II Line 139 and 140) Here Hamlet very precisely sums up Claudius in comparison to his father because a Hyperion was a glorious sun-god of classical mythology; a satyr was a creature half man half goat. Pritesh Kotecha Greenford High School. The fact that Hamlet refers Claudius to a goat is effective because the goat is seen to be a very lusty animal, and this information along with a lot of other quotes: incestuous and adulterous beast, (Act I Scene V Line 42) a serpent stung me (Act I Scene V, Line 36) gives the audience an animalistic perception of him. The fact that Shakespeare has said serpent stung is ironic as a serpent cannot sting and this makes the quote stand out, as it is eye-catching and alliteration is used here, and the image of a snake or reptile immediately comes to mind. Also, the sibilance here is a s, which is a connotation of evil. Claudius is again compared with God, when Polonius is talking to Claudius, he says: I hold my duty as I hold my soul, both to my God and my gracious king. (Act II Scene II, Line 44 and 45), because he uses Gods name in the same sentence as the kings is ironic because in the past the king was seen to be appointed by God, therefore anything a king was to say had to be obeyed. This is ironic because, in this situation Claudius did not inherit the throne the natural way, and had to commit a vile murder of his own brother to get it. This once more shows his greed and selfishness, as he killed his brother to inherit his possessions: My crown, mine own ambition, and my queen (Act III Scene III, Line 55). He has worded this sentence, mentioning his crown first, implying it means the most to him, and then at the end his queen, which shows he doesnt care as much about her however it does show that he has some feelings for her even though he is portrayed as this selfish character. Repetition is used here, and this sentence stands out and shows Claudius greed as all he is saying is my, my, my. Pritesh Kotecha Greenford High School Shakespeare uses repetition a great deal in Claudius speech, and in this case he uses it to outline Claudius intelligence, like any politician, he uses rhetoric as a way to manipulate people: your father lost a father, that father lost (Act I Scene II, Line 89 and 90), here he is trying to persuade Hamlet that its all part of the circle of life. This is important as it outlines his guilt that Hamlet is grieving for his father so much, and in a way is trying to make him stop mourning to make himself feel better. He even digs so low as he says to Hamlet, you grieving so much is a sin: tis a fault to heaven, a fault against the dead, a fault to nature (Act I Scene II, Line 101 2). Moreover, he again gives himself away unconsciously as he tries so hard to make Hamlet stop grieving. Shakespeare has presented Claudius as a skilled politician in this sentence because again he structures it in three parts, and again repetition is used, to make bold the main point he is trying to get across; your grieving is wrong. Claudius also uses Hamlets vulnerability as a chance to show his power. He refers to Hamlet as being weak and fragile: A heart unfortified, a mind impatient, An understanding simple and unschoold (Act I Scene II, Line 96 and 97). The fact that he has used the words unfortified and impatient, makes this sentence more interesting because he shows his power and intelligence by degrading Hamlet. He says he lacks patience and is very weak, and is not educated. Claudius is portrayed by Shakespeare, to exploit all situations with his language. In this case, he uses very negative words and the effect is it shows him in power over Hamlet. Pritesh Kotecha Greenford High School His power is also shown in his opening speech as king. Here Shakespeare has showed him as very powerful and in control by dealing with all his issues one-by-one. This is a very structured speech and it creates a strong impression on the audience as they see him as a man of control. What wouldst thou beg, Laertes that shall not be my offer not thy asking? (Act I Scene II, Line 45 and 46) Here he is just showing off his power saying what can you ask for that I will not already offer. Shakespeare has added this part in to make him seem passionate and a loyal king. Again, appearance and reality comes into play, as it seems as thought he is doing it to help Laertes, but could perhaps be doing it to show his power. The theme of seeming and being again reoccurs as Claudius is confessing, where he is seen to be legitimate, but again says things he doesnt mean: My words fly up my thoughts remain below, words without thoughts never to heaven go. (Act III Scene V, Line 97 and 98) Claudius deceit is portrayed here, as he is asking for forgiveness but he does not mean it, he cannot even be truthful whilst in prayer. This could have been an act of fright from Claudius as he is now aware that Hamlet knows the truth. This scene is very significant because it shows Claudius for his true colours, a coward. His character is now becoming more apparent to the audience, who now have something to build upon. Rhyming couplets is used here, and Shakespeare uses this a lot at the end of long speeches or scenes and is used as a sort of cue point, to let the other characters aware of when to come in. This line can be shown in many different ways. In the Kenneth Branagh version, Claudius is in a catholic confession box, with some low Pritesh Kotecha Greenford High School melancholy music in the background, and the camera is slowly zooming in on his face. Which creates a more dramatic effect and a more personal tone, and when this line is due, he does not say it but thinks it. In the Franco Zefereli version he is in front of a cross. Franco Zaferelli similarly uses a cross symbolising the same religious meaning as the confessional. Claudius change in character is again shown through his confession speech. A different side to him is shown, perhaps because he is now aware that Hamlet knows the truth, and now asks for forgiveness. Is there not rain enough in the sweet heavens to wash it white as snow? (Act III Scene V, Line 46) The language in this sentence is very powerful as Claudius uses natural elements, rain and snow, to outline his sin. Claudius graphic description of his sin is strong evidence, and his desire to temptation leaves him tormented by his guilty conscience. Also, because Claudius uses the colour white, it makes him seem more pure and guilty, as white is a connotation of purity, and a blank slate. In the Branagh version, he whispers this line and the audience see him as being honest and this effect is it makes him seem more apologetic. Although Claudius is portrayed as this corrupted villain, his character is wide open to interpretation. In a sense that although he killed his brother to marry Gertrude, he still has strong feelings for her: She is so conjunctive to my life and soul That, as the star moves not but in his sphere, I could not buy her(Act V Scene VII, Line 14-16). Here Claudius uses the earth and the planets to state his love for Gertrude, and implies that without her he would not be able to do anything. Although Shakespeare has Pritesh Kotecha Greenford High School. presented him to have strong feelings towards Gertrude, his greed and selfishness overrule his love for her: Gertrude do not drink [aside] It is the poisond cup. It is too late. (Act V Scene II, Lines 294 296) Just because he wants to get his own way, he jeopardizes her life and throughout the play, his actions lead to the death of seven innocent people, because he cannot resist his temptation and has to cover up his crime. In conclusion, Claudius is portrayed as a good king with bad qualities. Although he does have some good aspects as king, him being intellectual and powerful, his bad qualities over weigh his good. In a sense that, he is greedy and selfish, putting his own desire first, and going to any limits to reach his goal. Shakespeare has presented him excellently, with witchcraft of his wit(Act I Scene V, Line 43) allowing him to conceal his true colours, except for when he repented and confessed to God. Throughout the play, Shakespeare uses one good quote to define his character as; smiling damned villain(Act I Scene V, Line 106), as it shows that he has two sides to him in every way, public and private, caring and selfish, and cleaver but not very wise.

Aspects Of Performance :: essays research papers

ASPECTS OF PERFORMANCE In the following report I will focus on two factors of performance, they are  PSYCHOLOGICAL ASPECTS ON PERFORMANCE Nerves / stress, including manifestations Relationships between members Communication with audience Audience response  THE DEVELOPMENT OF A SUCCESSFUL GROUP Choice of members Program selection Rehearsal strategies Setting up Venue / audience Final performance Each of these aspects effects performers and to deal with all these things will ensure a successful group who do their jobs well and love doing it.  Ã‚  Ã‚  Ã‚  Ã‚    DESCRIPTION OF OUR BAND I am a part of an eight, member band, who at one time or another have been playing together for five years. The first three years I performed with four of the eight members in a class and an all girls band, this year I have reunited with them again and four other members as a new group. Our band consists of three lead vocalists. Our ranges are all fairly large and quite different, giving good variety in voices for a range of different styles of music. Our ranges are Db3 - Gb5 (break at C5), Gb3 - C6 (break at Bb4) and E3 - B5 (break at Gb4). We have one lead guitarist, two rhythm guitarists, (one who is in year 11 and the other is our music teacher), a bass player, and a drummer, (who is also in year 11). We are a covers group and like to experiment with all types of styles, pop, rock, disco, alternative / grunge, reggae, soul, jazz, RNB, blues and some international pieces from various countries like Greek, Spanish, Latin American and French. We rehears five times a week, three peri ods of class time and two lunch times. As a group we believe that practice makes perfect. We expect each member to rehears solo parts at home and to have private tuition for extra help. We all love to perform and do it as often as possible, our gigs range from school fetes, festivals, concerts and speech nights to an interstate tour to different schools every year. ASPECT 1  PSYCHOLOGICAL ASPECTS ON PERFORMANCE Every performer, no matter how long they’ve been in the business will be effected by psychological setbacks. These effects can cause major upsets to the level of a performer’s performance, so something must be done to control these feelings. All performers have different techniques to cope with these symptoms, and in this next section I will provide some of these.  NERVES STRESS BEFORE AND DURING PERFORMANCE

O Father, Where Art Thou Essay

The article, â€Å"O Father, Where Art Thou? † which was written by Joshua Alston and published in Newsweek last May, basically explained that the notion that most black fathers are irresponsible parents is not entirely true. According to the author, while statistics show that there is an alarming rate of black children living in homes without a father—50 percent, it doesn’t necessarily mean that all black fathers are the same. In fact, Alston wrote that there are a number of black fathers who are responsible parents and who have been supportive and caring for their children even in the most unstable and volatile situations. This, according to the author, is greatly illustrated in Tal-Nehsi Coates’ memoir, â€Å"A Beautiful Struggle,† in which he depicted how his black father, Paul, was a source of stability in security in a community where violence is rampant. Moreover, Alston claimed that the image of black fathers were significantly tainted by songs and shows such as â€Å"Papa Was A Rolling Stone† and â€Å"The Maury Show,† which both portrayed, in a way, that black men are bad fathers and, as a result, gave rise to the negative views towards them. On the other hand, the problem with most black fathers, according to the author, is that they think they equate being a successful parent to making a lot of money or being a breadwinner. Therefore, if black fathers aren’t able to substantially provide for their families, they opt to leave home instead of having their pride hurt. Based on the article, this is what people like Coates are trying to change. According to him, black fathers shouldn’t be made to feel like failures just because they aren’t living to the role of breadwinner. Coates also claimed that being a father also entails love, leadership, and teaching his children values and lessons in life. In his memoir, Coates wrote that he was raised well by his father, which also enabled him to develop his critical thinking. In short, according to the author, in order to reduce the number of black fathers who are absent in their homes, people should view them in a different light and look at the other aspects of their lives instead of just focusing on their inability to provide for their families.

Evolution Of Language And The Brain - 1447 Words

Professor Terrence Deacon, an American Neuroanthropoligist; for his undergraduate attended Fairhaven College of Western Washington University from 1972-1976 as an Interdisciplinary major. Later attending Harvard’s Graduate School of Education from 1977-1978 in Philosophy and Cognitive Development. Ultimately pursuing a Ph.D. from Harvard in Biological Anthropology from 1978-1984. Later he joined the Harvard faculty as an assistant professor of biological anthropology, he was promoted to an associate professor. In 1992 became an associate professor of biological anthropology at Boston University and he was an associate at McLean Hospital and the Harvard Medical School. Deacon’s special interests include bio-cultural evolution, brain development, and biosemiotics. He has published 2 major books The Symbolic Species: The Co-Evolution of Language and the Brain† and â€Å"Incomplete Nature: How Mind Emerged from Matter† also coauthored several books and article s revolving semiotics. 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