... with the lie, and the perpetual doubt of the town. Some of these women have very young children, who would be scarred for life because of the horror in the town, at their early age. Some of the youngsters themselves are being put on trial, as the witches' familiars. It is also an ordeal for the girls, because they are finally having power thrust upon them, after being shunned all their lives, because they are both female and children. By giving the pointing finger to the girls, they suddenly have the highest status of any in the town, with as much responsibility and reverence as the minister. They believe that this is only child's play, and that no one w ...
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... Clytaemnstra has gained power in Argos during Agamemnon’s absence. It is, therefore, in this first address to Clytaemnestra that it is learned that power is a main component of her character. When Clyteamnestra explains that she is lighting the alters because the war against Troy is over, which she knows because of the torch signals, she say that they are her, “proof, my burning sign…the power my lord passed on from Troy to me!” (Line 318-319) Even though the Chorus did not initially believe her report about the victory at Troy, this does not compromise the respect and fear they feel for their queen. They justify their disbelief the easiest way they can, with th ...
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... he finds a handhold and clings to it as if his life depended upon it. In the end, Angel, as well as the other students, makes a huge stride by studying and passing the AP Calculus exam. In yet another interpretation of this seemingly meaningless statement, Mr. Escalante could be referring to the hole caused by discrimination. Jaime knows that because of their ethnic origin, they will have a constant struggle to overcome the hurdles life has already set for them. ETS questioning of the results of the first AP exam is just one of the many obstacles his students will encounter in their strive for success. Mr. Escalante is doing his best to fill the discri ...
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... her son Hamlet and Claudius knows that. In order to stay king he must please Getrude, therefore he pretends to love Hamlet in front of Gertrude but behind her back, he plots to murder Hamlet. “I will work him To an exploit, now ripe in my device, under the which he shall not chose but fall. And for his death no wind of blame shall breathe”1. Gertrude's trust is betrayed by Claudius at that moment because Gertrude believes that Claudius loves Hamlet, when in fact, he despises him and wishes death upon him. Claudius is not the only character that betrays in the play Hamlet. Hamlets makes Ophelia believe that he loves her for a long time, until one day he te ...
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... this regard. It is the familiarity with Willy Loman that is the endearing quality which draws the audience closer to him. Through identification with his struggles and pains an appreciation of his plight is achieved. This identification is universal. The universality of identification is, among those reading or viewing the play, a bonding force for persons of every station. Miller’s success in this point is bred from each viewer’s own sentiment for Willie Loman. Another point by Miller is that, “the tragic feeling is invoked in us when we are in the presence of a character who is willing to lay down his life... to secure one thing- his sense of personal dignity.” W ...
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... Study number two was on physiological arousal. Objective measures were taken to prove the findings that men are prone to sexual jealousy. The 55 male and female participants were hooked up to machines that could sense their feelings of jealousy without the people verbally expressing them. Electrodermal activity, pulse rate, and electromyographic activity were the measures used. After the raw data of the first two studies were analyzed and studied, a third study was conducted. 300 male and female undergraduate students were given the same scenarios as in study one, but were asked questions after. One of the questions was, "Have you ever been involved ...
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... the natural pleasure which accompanies the explosive expenditure of prodigious physical energy and the euphoria which follows. He also rejoices no doubt in the success which crowns his efforts in battle - and so on. He may even conceived of the proper motive which should energize back of his great deed: The service and the loyalty I owe, In doing it, pays itself. But while he destroys the king's enemies, such motives work but dimly at best and are obscured in his consciousness by more vigorous urges. In the main, as we have said, his nature violently demands rewards: he fights valiantly in order that he may be reported in such terms a "valour's minion" and "Bello ...
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... clothing, since in his way of thinking others had better clothing. From that point on his greed took over. Therefore he was driven to kill the king so he can take his clothes. “The thane of Cawdor lives. Why do you dress me in borrowed robes?” (Macbeth,1.3,108, p.12) “This means that Macbeth is always dressed in tittles that are not his.” New honours come upon him, Like our strange garments, cleave not to their mould, But with the aid of use. (Banquo,1.3,144, p.14) “This means that the idea constantly recurs that Macbeth’s new honours sit ill upon him, like a loose and badly fitting garment, belonging to someone else.” Similarly, Shakespeare uses the s ...
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... to location with nothing but Ekart to see him through. But then he realizes that he is finally in love - with Ekart, but she doesn't love him and makes it obvious by having other men and women in her life. So, Baal kills her since he can't have her for his own. By the end, Baal has nothing but himself to blame for his condition. His drinking problem and his problem of seducing every woman he meets drives him to his death, and causes everyone to repudiate him. The acting ranged from not-so-great to very good. The only problem was that since not all the actor's names were used, it was difficult to figure out who was who in most cases. Baal, played by Robert Seay, ...
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... It is well known that Falstaff often works his way out of unpleasant situations using only his wit. The King is continuously modifying his behavior to suit the occasion, such as when he is dealing with Hotspur and the opposing Vassals and when he deals with Hal at the royal court. Both Falstaff and the King live,to a great extent, by the sharpness of their minds: Falstaff as a criminal, and the King as a politician. Another similar facet of these two characters is their view of bravery. Both the King and Falstaff subscribe to the theory that it is better to avoid danger and thus avoid the possibility of harm than to take risks. Falstaff does this on several occ ...
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