The tragedy cannot exist in your analysis of Hamlet Essay Example For Students

The tragedy cannot exist in your analysis of Hamlet? Essay In the situation wherein God is dead, then, tragedy of an Aristotelian nature categorically cannot exist, whether in terms of strict form or in terms of audience reaction to the situation presented. Conversely, suppose that God is indeed clearly known: under such circumstances, Hamlet is highly likely to let God judge the fate of Claudius, even to forgive Claudius, thus revenge cannot be exacted, directly violating Freytags Pyramid in that there would be no rising action or climax, meaning that the situation does not become worse for the tragic hero, inhibiting mythos. We will write a custom essay on The tragedy cannot exist in your analysis of Hamlet? specifically for you for only $16.38 $13.9/page Order now Additionally, the lack of climax would mean the eradication of any feeling of catharsis, a crucial aspect of tragedy. It is the feeling of catharsis, according to Aristotle, which allows the audience to gauge emotions correctly, meaning that he thinks of tragedy as a calibrator of sorts. Fundamentally, the scale of the tragedy witnessed in the play would usually dwarf the problems in the lives of the audience, purging them, theoretically making them feel happier: this cathartic concept in particular central to the primary purpose of tragedy thus, the removal of the cathartic effect and of mimesis through verification of God has a hugely weakening effect on tragedy. However, speaking from a Marxist perspective (which is of course the perspective from which the quote in the title is derived), catharsis is not always desirable. Bertolt Brecht, another Marxist and a prominent dramatist, believed that his plays should be a representation of reality, but not reality itself: he did not want a perfect representation of human emotion, which Constantin Stanislavski endorsed, but instead proposed his own Verfremdungseffetkt or distancing effect theory, making scenes alien to the audience in order to discomfort them: he is scathing of Aristotles idea of catharsis in Poetics in his own theoretic work A Short Organum for the Theatre, saying that the cathartic effect left the audience unconcerned, even apathetic, that what the ancients, following Aristotle, demanded of tragedy is nothing higher or lower than it should entertain people9, rather than making them recognise social injustice and feel a sense of duty to society. Thus the removal of catharsis via the confirmation of Gods existence, while diminishing an Aristotelian aspect of tragedy, may well enhance Marxist tragedy. In the event that God is clearly known, perhaps Claudius does not kill King Hamlet at all, as the ultimate consequences of his actions would be laid bare before him, and the fear of damnation exceeds his greed, meaning the entire plot (mythos, which includes peripateia and nearly all aspects of tragedy) collapses. Even if Hamlet chooses to seek revenge, he would be seen as foolish by the audience (especially the typical Elizabethan audience, who were typically God-fearing and strongly Christian), as he knows that God will unquestionably punish him, and that God would have punished Claudius regardless of Hamlets own actions, again diminishing pathos and with it the overall tragic qualities of the play. However, perhaps tragedy may still exist in a less strict sense if God is dead or clearly known. If God was clearly known, and yet the killing of King Hamlet, who the audience have been told multiple times was a just and honest ruler (So excellent a king that was, to this, Hyperion to a satyr10), was allowed to continue, the (short-term, at least) success of evil over good could yet inspire pathos, a feeling of sympathy from the audience towards Hamlet (although this may be more the case for the more emotionally empathetic and less God-fearing modern audience rather than the more devoutly religious Elizabethan audience), as he must then question the morality of God, pondering whether God is necessarily omnibenevolent there would still be scope for uncertainty, even with the verified existence of God. .u6104d77681d377e56f607adee712301c , .u6104d77681d377e56f607adee712301c .postImageUrl , .u6104d77681d377e56f607adee712301c .centered-text-area { min-height: 80px; position: relative; } .u6104d77681d377e56f607adee712301c , .u6104d77681d377e56f607adee712301c:hover , .u6104d77681d377e56f607adee712301c:visited , .u6104d77681d377e56f607adee712301c:active { border:0!important; } .u6104d77681d377e56f607adee712301c .clearfix:after { content: ""; display: table; clear: both; } .u6104d77681d377e56f607adee712301c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6104d77681d377e56f607adee712301c:active , .u6104d77681d377e56f607adee712301c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6104d77681d377e56f607adee712301c .centered-text-area { width: 100%; position: relative ; } .u6104d77681d377e56f607adee712301c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6104d77681d377e56f607adee712301c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6104d77681d377e56f607adee712301c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6104d77681d377e56f607adee712301c:hover .ctaButton { background-color: #34495E!important; } .u6104d77681d377e56f607adee712301c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6104d77681d377e56f607adee712301c .u6104d77681d377e56f607adee712301c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6104d77681d377e56f607adee712301c:after { content: ""; display: block; clear: both; } READ: A Critical Analysis Of A Midsummer Nights Dream EssayIn Hamlet, uncertainty is the key to tragedy: it is uncertainty which lends Hamlet his fatal flaw, which results in the mistakes that lead him to his ineluctable death and the collapse of the Danish royal family. Also, ambiguity concerning the nature of the Ghost and its importance relative to God (should God exist) could also inspire procrastination within Hamlet: should he obey his father, his creator, or the ultimate creator? Furthermore, as mentioned above, the apparent declining importance of God in Hamlets motivation and reasoning as the play progresses is indicative of the fact that tragedy can still exist (and no t be hugely impacted at that) without God as a factor. It is therefore possible to achieve aspects of tragedy while categorically affirming or denying the existence of a God. Overall, though, the general ambiguity regarding God is vital in preserving true tragedy. Goldmanns quote may have been borne mainly out of his Marxist tendencies, but its message holds true for Hamlet. And while it has been established that certain facets of tragedy (pathos and hamartia) can remain in the face of hypothetical absolute truth, some components of tragedy are usually lost when God is dead or clearly known, as hope and faith, according to Marxism at least, fuels acceptance of social injustice and perpetuates suffering. BIBLIOGRAPHY Hamlet William Shakespeare Critique of Hegels Philosophy of Right Karl Marx Marxist Literary Theory Terry Eagleton Drew Milne Word Count 1615 1 Karl Marx, Critique of Hegels Philosophy of Right: (Cambridge University Press, 1970), p. 1 2 William Shakespeare, The Tragical History of Hamlet, Prince of Denmark, The Second Quarto 1604-5, (The Arden Shakespeare, 2006), p. 285 3 Shakespeare, Hamlet, p. 176 4 Shakespeare, Hamlet, p. 278 5 Shakespeare, Hamlet, p. 285 6 Marx, Critique of Hegels Philosophy of Right, p. 2 7 Marx, Critique of Hegels Philosophy of Right, p. 2 8 Shakespeare, Hamlet, p. 176 9 Bertolt Brecht, A Short Organum for the Theatre, in Marxist Literary Theory by Terry Eagleton Drew Milne, (Blackwell Publishers, 1999) p. 110 10 Shakespeare, Hamlet, p. 177.

To advance physical and intellectual competence Essay Example

To advance physical and intellectual competence Essay Example To advance physical and intellectual competence Paper To advance physical and intellectual competence Paper To advance physical and intellectual competence I provide various amounts of equipment and activities that help promote the physical development of children. I do this by offering activities that will allow children to use their small muscles and large muscles. Children need these types of activities so they can become familiar about how to use their muscles and to develop body strength. Activities such as throwing things, rolling balls, moving arms up and down will help children gain upper body strength. Activities such as jumping, running and balancing themselves will help them gain strength in the lower parts of their bodies. These activities allow them to work with their gross motor skills. Activities such as painting, puzzles, writing, coloring and typing on the keyboard allows them to use their fine motor skills. I encourage children to use their cognitive skills. I do this by having children think about how to solve problems rather than simply asking a question and receiving an answer. For example, children asked â€Å"what happens if we bring snow into the classroom? † The children brought snow into the classroom to see if the snow stays the same or will it melt. We then discussed what happened and why it happened. I keep activities interesting so that children will want to learn and use their minds. In my classroom cognitive skills are used on a daily basis. I also encourage children to be creative. Children should have access to materials such as markers, crayons, paint, pencils, and paper. By having these materials accessible will allow them to explore and be creative. I play many types of music including music in different languages. Playing music encourages them to dance and that is also a way for children to use their gross motor skills. In my classroom I help children learn and understand how to properly communicate by using words. I do this by encouraging children to talk with their peers and I converse with the children as well. I will ask children about their work and encourage them to explain in detailed sentences. After reading a story I give each child a chance to ask a question. Placing labels around the classrooms is very important because children will begin to match the words with the objects. I read books that introduce new vocabulary to children so that children can learn and use new words. I feel confident that I offer great opportunities to advance physical and intellectual competence in children.

Roman Fever by Edith Wharton Essay Example | Topics and Well Written Essays - 750 words - 1

Roman Fever by Edith Wharton - Essay Example The main characters of the short story are two elderly women Mrs. Slade and Mrs. Ansley. Thorough the theme of marriage, the author shows that most women rely upon successful match in order to achieve high social position. The short story suggests something of the historical loss for women of transferring the sense of self to relationships with men. For instance, Mrs. Slade reflected "he had always regarded herself (with a certain conjugal pride) as his equal in social gifts, as contributing her full share to the making of the exceptional couple they were" (Wharton). Wharton depicts that social status plays an important role in life of both women, because high social position determine their happiness and guarantee public recognition. The character of Mrs. Ansley does not differ greatly from her friend. "Mrs. Ansley was much less articulate than her friend, and her mental portrait of Mrs. Slade was slighter" (Wharton). Both women portrayed as typical wives whose domestic role is pred etermined. The theme of widowhood helps Wharton to unmask contradiction arisen in the society and criticize dependence of women upon their husbands. Wharton vividly portrays that women mean nothing as social members without their husbands. "Yes; being the Slade's widow was a dullish business after that. In living up to such a husband all her faculties had been engaged; now she had only her daughter to live up to" (Wharton). In reality, both women find themselves defeated by the social norms they have followed all their life. Wharton unveils that their society had been solid and secure up to the moment their husbands were alive. To some extent, this short story shows a parody of the happy ending when women are faced with realities of live after death of their husbands. It seems that after husbands' deaths women are excluded from social life. Wharton criticizes social statuses and positions which play a crucial role for women and unveils that women can commit any crime and play any trick upon their friends in order to secure their high position and public recognition. Wharton depicts that friendship does not exist between Mrs. Slade and Mrs. Ansley, because their lives have been nothing more than a struggle for happiness and high social position. For instance, Mrs. Slade has hated her friend all her life because Mrs. Ansley is lovely and cleverer than she is. Many years ago Mrs. Slade betrayed her in order to secure her marriage which meant high social position. Mrs Slade recollects: "And I remember laughing to myself all that evening at the idea that you were waiting around there in the dark, dodging out of sight, listening for every sound, trying to get in" (Wharton). Wharton criticizes that only marriage can preserves the vital social values of stability, continuity and propriety. Only at the cost of brutally suppressi ng equally powerful individual