Hester Prynne and John Proctor were very similar in certain aspects, but when you dig deeper into their lives you find that they differed greatly. They both lived in the Puritan settlement of Salem, Massachusetts. Many deeds that were committed, such as adultery, were viewed as a sin and offenders were punished. Also, during this time period the Salem Witch Trials condemned people for participating in witchcraft. This was the cause of Proctor’s suffering.
Fatal flaws have been shown in works of literature throughout the centuries, causing the destruction of many characters. In the novel, The Scarlet Letter by Nathaniel Hawthorne, three of the main characters each have a fatal flaw. The novel, set in Puritan Boston between 1642-1679, tells the story of Hester Prynne through third person narrative. Hester begins her journey in the novel when she is brought from jail for her punishment in having an affair with someone in the town, resulting in her pregnancy. Her husband, Roger Chillingworth, who she believed dead, sought out revenge against the unknown father of Hester’s child.
Creating film adaptations of stage productions can be very easy, but creating a film adaptation of a stage production that makes effective use of the film medium to communicate an idea without losing the essence or message of the original production, well, it can be quite difficult. Although screenwriters, cinematographers, and directors have and use various tools that aren’t available to playwrights and book writers they often struggle with the effective presentation of an idea. They wonder what they could change to enhance the author’s message and how they could change it without losing/disparaging the original charm or themes. The constructive use of film techniques and film medium is the key to both a distinguished film adaptation, and the successful presentation of major ideas. It is evident that in Miller’s 1996 film adaptation that one of the major ideas present in The Crucible is the irony of male power.
The bane of American history, slavery was considered to be one of the gravest hypocrisies and injustices of our nation's past. The act of forcing a fellow man into unlawful servitude casts a darkness onto human ethics. Familiar with this inhumane act, Benjamin Banneker, son of a farmer salve, effectively argues against the use of slavery in his letter to Thomas Jefferson. Banneker immediately begins the letter in a formal, yet urgent tone, and his diction demonstrates thoughtful consideration and tact in this important situation, using words such as "Sir," "suffer me," and "entreat." He essentially aims to appeal to Thomas Jefferson to garner his support through the use of pathos.
In The Scarlet Letter, Nathaniel Hawthorne pinpoints various effects of sin on individuals within a strict, Puritan society. To shed a negative light on Puritan attitudes toward sin and lack of forgiveness, Hawthorne paints vivid pictures of freedom and imprisonment, relief and regret, through the juxtaposition of Hester Prynne and Arthur Dimmesdale, and the characterization of the two lovers. Hester undergoes major character growth through her years bearing the scarlet “A,” "so fantastically embroidered and illuminated upon her bosom," introduced in the narrator’s shifting viewpoint of the young mother. The Reverend Arthur Dimmesdale on the other hand, shoulders his guilt, in spite of the physical manifestation of his inner turmoil in his
In the passage from “The Sentimentality of William Tavener,” the events are placed in such an order that it grasps the reader’s attention through dialogue and later foreshadowing. The order of the dialogue between Hester and William has a strong impact on the way the reader views the characters, as well as the passage. The passage starts out by giving a statement by Hester and then showing William’s reaction to this statement. For the first part of the passage, it is mainly Hester doing the talking.
In Ibsen’s Hedda Gabler, Hedda Gabler is a woman in her late twenties who grew up in an aristocratic family during the Victorian period. Hedda was the daughter of General Gabler, and she was raised to be part of the high society social class. Hedda is very much a product of her own high society. Hedda married into a middle-class family, the Tesman’s. When Hedda married George Tesman, she entered a social situation she could not control.
Ibsen uses hair to symbolize both Hedda’s and Mrs. Elvsted’s natures. Hedda 's hair is attractive but not particularly abundant. In contrast, Mrs. Elvsted’s is unusually abundant. Hair is often associated with creativity or fertility
In the story Hedda Gabler presents a woman with jealously to manipulate every character in her path. Hedda, the protagonist, displays main jealously with characters Eilert Loveborg and Thea Elvsted. The main cause of this hatred belongs to past lovers along with dealing with miserable lifestyle and relationship. Hedda proceeds to live each day with emotional illness that threatens the satisfaction of other characters. Resulting in this makes Hedda commits suicide that comes from internal buildup of taking an easier route than dealing with her problems that she couldn’t take anymore.
The first Protestant element in The Tragedy of Hamlet, Prince of Denmark is introduced very early in the play, which is Prince Hamlet’s education at Wittenberg, the supposed birthplace of Protestantism. This element serves as a basis to Hamlet 's progressive connections to Martin Luther, and because of this allusion’s specific nature and
Among the difficulties nullifying their relationship, social tension arises as Hedda idolises an upper-class, luxurious life style, but working-class Tasman can’t afford the regime is wife desires. Pressure derives from Hedda indoctrinating that she is a trapped woman and thus envies Brack and other males in the play. The inadequacy of Hedda’s love and affection for Tesman is shown through Hedda’s embarrassment behind bearing Tesman’s child, as well as the determination that intimacy between the couple to be scarce. Paragraph 1: Throughout the play, Ibsen constructs social tension using dialogue and stage direction to draw attention to the barrier between prosperous Hedda and middle-class husband Tesmen.
In the play of Henrik Ibsen’s drama Ghosts, as well as in Amalie Skram’s short story Karen’s Christmas there is strong ridicule of the societal norms in late nineteenth century Scandinavia. In-depth reading of these texts display scorn for the way Scandinavia as a culture, during this time period, behaved and their ideals. These ideals have been developed through a history of social, political and economic change in Scandinavia, and the message from both authors is one highlighting the problems of societal norms and providing progressive ideas. Ghosts is a story of the past generations and their problems being past down. The characters in the play are selfish and the tragedy at the end of the story is one sealed by societies failures.
Even on their honeymoon Tesman admits that, “Well, for me it has been a sort of tour of research as well. I have had to do so much grubbing among old records--and to read no end of books too, Auntie” (Ibsen, 7). While Tesman was off in his world of research, Hedda was left alone to do as she wished and that is obviously how she preferred it. She goes as far as to admit to both Brack and Lovburg that she does not even love her husband. When Brack labels what she feels for Tesman as love her response borders on disgusted saying, “Faugh--don't use that sickening word!”
This creates a sense of empathy towards the characters as the story slowly unfolds. Ibsen remains objective and neutral throughout the play, never using the dialogue to present his views or to exhibit pity or scorn for Hedda or any other character. Instead, Ibsen simply presents the story as it unfolds. “I don’t want to look like sickness and death. I want to be free of everything ugly.”
When the orphanage was going to be opened it was to be named “Captain Alving's Foundation” as his persona to the public of was a person that was heroic and a role model, he was much more frivolous. The dilemma is experienced by Ms Alving as she is discussing the opening of the orphanage with Pastor Manders, “But what about the truth?” she questions as implying that she does not feel that the orphanage should be in honour of him. In this part of the play Ibsen utilises the orphanage as a bearing weight on Ms Alving. By making Ms Alving question her integrity the audience can feel discrete tonal shift towards truth as she is beginning to realise the encumbrance Captain Alving felt living in the “Rosenvold” estate.
