11.26.13 Melody Qiao Intro to Lit H Ms. Eliot Humor is a wonder drug to defuse bad mood, pain and to fix relationship. A little joke can easily remove an unpleasant conflict, change the talking atmosphere and make it harmonious. Through out the book, there is an example of how to use humor to defuse pain. Junior's sister died, his father was so sad. At that time, When his father drive Junior's home, Junior laughing and laughing, it effectively easing the bad mood.
Desdemona says, “I never did Offend you in my life; never loved Cassio But with such general warranty of heaven As I might love. I never gave him token” (line 61, act 5, scene 2) On the other end, Emilia proves her loyalty and devotion to her husband by following his instructions to the latter. In addition, she stays close to her husband despite Iago’s incessant abuses and aggression towards her. She fondly refers to
There are three kinds of love that William Shakespeare uses in this play: true love, friendship, and self love. Self-love is when somebody thinks they are better then another person and is totally in love with themselves and doesn’t listen to anything anyone says that is against them. A few characters display self love in Twelfth Night, for example, Malvolio, with his love for Olivia, but it is a love that is selfish, and that he thinks that everyone is in love with him, and Olivia, with her thinking she is the best and that no one is good enough for her and her mourning of her brother for so long. In Act 3 Scene 1 line 145, Olivia tries to persuade Cesario/Viola to be with her, thinking that is can get anyone to be with she is astonish that Cesario denies her and then tells him that she will wait for him to enter manhood, but that will not happen cause Cesario is not a man. Malvolio Is the easiest to identify with the problem of self love.
For example, Hester and Dimmesdale fell in love and committed adultery. Even after many years had passed they still love each other unconditionally. Hester’s character is especially believable because, even though this story takes place in Colonial England, she takes on the role of a modern day single mother; she stays strong for Pearl by hiding her internal struggles with her shame as
Conversely, Paul’s story is actually tragic in nature. Motherly love is supposed to be unconditional and unwavering; Paul however, never seems to be loved by his mother no matter what he does. Both Emily Grierson, the southern lady and Paul the young child suffer from Oedipus complexes. Emily loved her father and refused to give up his dead body for three days after he died. She attempts to replace him with a man that is similar, her lover Homer Baron, who carries a horsewhip like her father.
Keller describes her experience as “unspeakable happiness” when she reads her favorite stories to her family who have supported her throughout her battles. She calls speech a “blessing” because this passion and desire that she longs for is keeping her fight half the battle. By trying to improve on her senses does not come natural to her, but has created a liaison with her family who believe in her. The Keller family has an affectionate and kind relationship that made it easy and enjoyable for each of them to help each other. As Ms. Keller describes her experience, she is not only talking to people who cannot hear or talk but also the families who should be willful to help and support in any way their family members who want to learn to be given their lost abilities.
The women in Arthur Miller’s Death of a Salesman are often considered to play a supportive role for the main characters. Linda Loman is the lead female character for the play and from the beginning we see nothing but her unwavering loyalty and support towards her husband. She seems genuinely concerned of her husband’s well-being and is ready to ease him of even the slightest discomforts despite Willy’s rude behavior. Linda does everything in her power to make sure that nothing comes in way of Willy’s self-esteem. Though some may interpret this behaviour as common for a loving wife to exhibit, it is quite clear that this is exactly the kind of behavior that prevents the men in the play from achieving success.
I especially enjoyed the moments where McDonald shows how upset Susie is by how the doctors treat Vivian; it helped me understand how caring Susie is and how much of a foil she is to Vivian. I also really liked the way Jason was portrayed by Jonathan M. Woodward; he really made the character come to life. I only wish that Edson had kept the “Oh God” line from the end of Wit in the film version because it really helps keeps the metaphysical element to the play for when she dies and show Jason’s acceptance of his need to be more personable rather than always be in research mode. Overall I really enjoyed the film and felt it was a good portrayal of the play
He vows that he never will marry, but what he doesn’t realize is that he actually loves Beatrice. They constantly battle back and forth on stage, attempting to outwit and insult each other, but beneath it all, they both love each other. Claudio falls in love with Hero (the daughter of Leonata and wife of Don Pedro). The plot consists of the complicated relationship between Hero and Claudio, and the attempt to set up the marriage between Beatrice and Benedick. Performances that stood out the most among the cast include Moses Howard as Don Pedro and David Shadman as Benedick.
How is love portrayed in Julius Caesar? Love is portrayed as a key theme in Julius Caesar for several reasons, and is often closely linked with friendship and loyalty. Shakespeare uses the powerful and emotive idea of love and friendship to show the audience Brutus’ humanity after his role in the assassination of Julius Caesar. Brutus and Portia’s relationship serves the purpose of showing us that Brutus was no cold blooded killer or butcher, but that he was compassionate, caring, and acting in what he thought were the best interests of Rome. “You are my true and honourable wife” shows us the love and respect Brutus had for Portia, and as such emphasises Brutus’ humanity in the play.