There is plenty of humours in The Tempest written by William Shakespeare. His comic genius is amply illustrated here. The humour in this play is rather crude. Here much of the humour is farcial, However, we have some real wit in some of the remarks of Gonzalo, Antonio and Sebastian. 

In the very beginning scene, Gonzalo pokes fun at the boatswain by saying that the boatswain’s very face shows that he would die not by drowning but by hanging on the gallows. Gonzalo says that there is no drowning mark upon the boatswain’s face, and the boatswain’s very complexion is perfect gallows. Gonzalo makes another witty remark when he says that he would like to die a dry death, and that he would gladly give a thousand furlongs of sea in exchange for an acre of barren ground. Antonio and Sebastian show their wit by making fun of Gonzalo. In a running commentary, they mock and scoff at the old lord Gonzalo who means no harm to anybody and who excites the jealousy of these two men by his sheer goodness. 

The main source of humour in this play is the drunken behavior of Caliban, Stephano, and Trinculo. But in this case Trinculo makes a remarks which are really witty. 

Bring out the comic elements in the play, The Tempest.

Green Land | September 18, 2024 | 0 comments

There is plenty of humours in The Tempest written by William Shakespeare. His comic genius is amply illustrated here. The humour in this play is rather crude. Here much of the humour is farcial, However, we have some real wit in some of the remarks of Gonzalo, Antonio and Sebastian. 

In the very beginning scene, Gonzalo pokes fun at the boatswain by saying that the boatswain’s very face shows that he would die not by drowning but by hanging on the gallows. Gonzalo says that there is no drowning mark upon the boatswain’s face, and the boatswain’s very complexion is perfect gallows. Gonzalo makes another witty remark when he says that he would like to die a dry death, and that he would gladly give a thousand furlongs of sea in exchange for an acre of barren ground. Antonio and Sebastian show their wit by making fun of Gonzalo. In a running commentary, they mock and scoff at the old lord Gonzalo who means no harm to anybody and who excites the jealousy of these two men by his sheer goodness. 

The main source of humour in this play is the drunken behavior of Caliban, Stephano, and Trinculo. But in this case Trinculo makes a remarks which are really witty. 

The Tempest

The Tempest is full of supernatural elements. But it is realistic at the core. The island where Prospero lives is an enchanted one. Yet the play is essentially realistic. Its realistic quality finds expression in the manner in which the various characters have been portrayed. 

Most of the events in the play are manipulated by Prospero by using his supernatural powers. But human nature here has been depicted in a perfectly realistic manner. Ferdinand and Miranda are mutually attracted to each other. They fall in love with each other at first sight. The facts are perfectly true to life. Then the villainy of Antonio and Sebastian is also true to life. Both of them appear as unnatural brothers and devoid of a conscience. Such villains are quite common in real life. Ambition is something to be found in almost every human being. Everybody tries to attain his ambition by all kinds of methods, fair or foul. Alonso had committed a crime. Now he repents of it. Many people in this world commit misdeeds and subsequently repent of them. Prospero forgives his erzmies. This is not something unbelievable. His forgiveness is certainly unique. But it is not something impossible. 

However, Miranda shows pity for the passengers on the stormattacked ship. Antonio incites Sebastian to murder Alonso. The drunken Stephano agrees to murder Prospero. Prospero is anxious to secure a proper husband for Miranda. Alonso becomes remorseful. All these incidents have been depicted in such a manner that we feel them genuine undoubtedly.

Bring out the realistic elements in the play, The Tempest.

Green Land | September 18, 2024 | 0 comments

The Tempest is full of supernatural elements. But it is realistic at the core. The island where Prospero lives is an enchanted one. Yet the play is essentially realistic. Its realistic quality finds expression in the manner in which the various characters have been portrayed. 

Most of the events in the play are manipulated by Prospero by using his supernatural powers. But human nature here has been depicted in a perfectly realistic manner. Ferdinand and Miranda are mutually attracted to each other. They fall in love with each other at first sight. The facts are perfectly true to life. Then the villainy of Antonio and Sebastian is also true to life. Both of them appear as unnatural brothers and devoid of a conscience. Such villains are quite common in real life. Ambition is something to be found in almost every human being. Everybody tries to attain his ambition by all kinds of methods, fair or foul. Alonso had committed a crime. Now he repents of it. Many people in this world commit misdeeds and subsequently repent of them. Prospero forgives his erzmies. This is not something unbelievable. His forgiveness is certainly unique. But it is not something impossible. 

However, Miranda shows pity for the passengers on the stormattacked ship. Antonio incites Sebastian to murder Alonso. The drunken Stephano agrees to murder Prospero. Prospero is anxious to secure a proper husband for Miranda. Alonso becomes remorseful. All these incidents have been depicted in such a manner that we feel them genuine undoubtedly.

The Tempest

Sethe’s daughter Denver is the most dynamic character in the novel. She is shy, intelligent, introspective, Sensitive, and inclined to spend hours alone in her “emerald closet,” a sylvan space formed by boxwood bushes. Her mother considers Denver a “charmed” child who has miraculously survived, and throughout the book Denver is in close contact with the supernatural. 

Sethe is whipped severely, despite the fact that she is pregnant. Swollen and scarred, Sethe nevertheless runs away, but along the way she collapses from exhaustion in a forest. A white girl, Amy Denver, finds her and nurses her back to health. When Amy later helps Sethe deliver her baby in a boat, Sethe names this second daughter Denver after the girl who helped her. 

Denver is fascinated with the spirit of her dead sister Beloved. She is the character most sensitive to Beloved and her true identity. She drank her sister’e blood along with Sethe’s milk. As a child, as lonely and rebuked as she claims that the ghost plays with her and her deafness is broken by the sound of the baby girl trying to crawl up the steps. She needs Beloved in the same way that Beloved needs Sethe. We witness her dissolution when Beloved disappears in the cold house. She feels that she has lost herself. She only takes responsibility for her own life at the instigation of Nelson Lord. She benefits the most from Beloved’s presence, though indirectly. At first she feels an intense dependence on Beloved, convinced that in Beloved’s absence she has no “self” of her own. Later, however, Beloved’s increasingly malevolent, temperamental, self-centered actions alert Denver to the dangers of the past Beloved represents. Ultimately, Beloved’s tyranny over Sethe forces Denver to leave 124 and seek help in the community. Denver's exile from 124 marks the beginning of her social integration and of her search for independence and self-possession. 

Despite Denver's abilities to cope, she has been stunted emotionally by years of relative isolation. Though eighteen years old, she acts much younger, maintaining an intense fear of the world outside 124 and a perilously fragile sense of self. Indeed, her self conception remains so tentative that she feels slighted by the idea of a world that does not include her. When she feels that she is being excluded from her family’s attention, for example, when her mother devotes her energies to Paul D, Denver feels threatened and angry. Correspondingly, she treats Paul D coldly much of the time. 

In the face of Beloved’s escalating malevolence and her mother’s submissiveness, Denver is forced to step outside the world of 124. Filled with a sense of duty, purpose, and courage, she enlists the help of the community and cares for her increasingly self-involved mother and sister. She enters a series of lessons with Miss Bodwin and considers attending Oberlin College someday. Her last conversation with Paul D underscores her newfound maturity. She presents herself with more civility and sincerity than in the past and asserts that she now has her own opinions.

Analyze the character Denver

Green Land | March 21, 2024 | 0 comments

Sethe’s daughter Denver is the most dynamic character in the novel. She is shy, intelligent, introspective, Sensitive, and inclined to spend hours alone in her “emerald closet,” a sylvan space formed by boxwood bushes. Her mother considers Denver a “charmed” child who has miraculously survived, and throughout the book Denver is in close contact with the supernatural. 

Sethe is whipped severely, despite the fact that she is pregnant. Swollen and scarred, Sethe nevertheless runs away, but along the way she collapses from exhaustion in a forest. A white girl, Amy Denver, finds her and nurses her back to health. When Amy later helps Sethe deliver her baby in a boat, Sethe names this second daughter Denver after the girl who helped her. 

Denver is fascinated with the spirit of her dead sister Beloved. She is the character most sensitive to Beloved and her true identity. She drank her sister’e blood along with Sethe’s milk. As a child, as lonely and rebuked as she claims that the ghost plays with her and her deafness is broken by the sound of the baby girl trying to crawl up the steps. She needs Beloved in the same way that Beloved needs Sethe. We witness her dissolution when Beloved disappears in the cold house. She feels that she has lost herself. She only takes responsibility for her own life at the instigation of Nelson Lord. She benefits the most from Beloved’s presence, though indirectly. At first she feels an intense dependence on Beloved, convinced that in Beloved’s absence she has no “self” of her own. Later, however, Beloved’s increasingly malevolent, temperamental, self-centered actions alert Denver to the dangers of the past Beloved represents. Ultimately, Beloved’s tyranny over Sethe forces Denver to leave 124 and seek help in the community. Denver's exile from 124 marks the beginning of her social integration and of her search for independence and self-possession. 

Despite Denver's abilities to cope, she has been stunted emotionally by years of relative isolation. Though eighteen years old, she acts much younger, maintaining an intense fear of the world outside 124 and a perilously fragile sense of self. Indeed, her self conception remains so tentative that she feels slighted by the idea of a world that does not include her. When she feels that she is being excluded from her family’s attention, for example, when her mother devotes her energies to Paul D, Denver feels threatened and angry. Correspondingly, she treats Paul D coldly much of the time. 

In the face of Beloved’s escalating malevolence and her mother’s submissiveness, Denver is forced to step outside the world of 124. Filled with a sense of duty, purpose, and courage, she enlists the help of the community and cares for her increasingly self-involved mother and sister. She enters a series of lessons with Miss Bodwin and considers attending Oberlin College someday. Her last conversation with Paul D underscores her newfound maturity. She presents herself with more civility and sincerity than in the past and asserts that she now has her own opinions.

Beloved

Beloved is presented as an allegorical figure. Whether she is Sethe’s daughter, Sethe’s mother, or a representative of all of slavery’s victims, Beloved represents the past returned to haunt the present. The characters’ confrontations with Beloved and, consequently, their pasts, are complex. The interaction between Beloved and Sethe is given particular attention in the book. Once Sethe reciprocates Beloved’s violent passion for her, the two become locked in a destructive, exclusive, parasitic relationship. When she is with Beloved, Sethe is paralyzed in the past. Beloved allows and inspires Sethe to tell the stories she never fells. By engaging with her past, Sethe begins to learn about herself and the extent of her ability to live in the present. 

Beloved also inspires the growth of other characters in the novel. Though Paul D’s hatred for Beloved never ceases, their strange, dreamlike sexual encounters open the lid of his “tobacco tin” heart, allowing him to remember, feel, and love again, Denver benefits the most from Beloved's presence, though indirectly, At first she feels an intense dependence on Beloved, convinced that in Beloved's absence she has no “self" of her own, Later, however, Beloved's increasingly malevolent, temperamental, self-centered actions alert Denver to the dangers of the past Beloved represents. Ultimately, Beloved’s tyranny over Sethe forces Denver to leave 124 and seek help in the community, Denver's exile from 124 marks the beginning of her: social integration and of her search for independence and self possession. 

Beloved is the manifestation of a murdered two-year old in a 20 year old body. Her mind and actions speak as a child not an adult. She loves her mother and wants her all to herself like a typical two year old child. She even loves Denver though she is jealous of her and the relationship Denver has had with her mother. She is also jealous that she survived. The reversal of power from Sethe to Beloved is when the vampiric nature of Beloved intensifies. In the novel the vampiric or parasitic aspect of motherhood is amplified. Like the fetus is a parasite to the mother whose uterus it is sucking life from and continues to nourish its body by gleaning the nutrients from the mother’s body after birth by nursing. Sethe’s mental capacities decline because she has given up any thought of life other than focusing on the baby she murdered. Her own guilt about the act allows her to become entrapped by Beloved. As the author is female, she could depict the mother child relationship and the feelings of the women more effectively. 

Although Beloved vanishes at the end of the book, she is never really gone—her dress and her story, forgotten by the town but preserved by the novel, remain. Beloved represents a destructive and painful past, but she also signals the possibility of a brighter future. She gives the people of 124, and eventually the entire community, a chance to engage with the memories they have suppressed, Through confrontation, the community can reclaim and learn from its forgotten and ignored memories. 

Analyze the gothic character Beloved

Green Land | March 21, 2024 | 0 comments

Beloved is presented as an allegorical figure. Whether she is Sethe’s daughter, Sethe’s mother, or a representative of all of slavery’s victims, Beloved represents the past returned to haunt the present. The characters’ confrontations with Beloved and, consequently, their pasts, are complex. The interaction between Beloved and Sethe is given particular attention in the book. Once Sethe reciprocates Beloved’s violent passion for her, the two become locked in a destructive, exclusive, parasitic relationship. When she is with Beloved, Sethe is paralyzed in the past. Beloved allows and inspires Sethe to tell the stories she never fells. By engaging with her past, Sethe begins to learn about herself and the extent of her ability to live in the present. 

Beloved also inspires the growth of other characters in the novel. Though Paul D’s hatred for Beloved never ceases, their strange, dreamlike sexual encounters open the lid of his “tobacco tin” heart, allowing him to remember, feel, and love again, Denver benefits the most from Beloved's presence, though indirectly, At first she feels an intense dependence on Beloved, convinced that in Beloved's absence she has no “self" of her own, Later, however, Beloved's increasingly malevolent, temperamental, self-centered actions alert Denver to the dangers of the past Beloved represents. Ultimately, Beloved’s tyranny over Sethe forces Denver to leave 124 and seek help in the community, Denver's exile from 124 marks the beginning of her: social integration and of her search for independence and self possession. 

Beloved is the manifestation of a murdered two-year old in a 20 year old body. Her mind and actions speak as a child not an adult. She loves her mother and wants her all to herself like a typical two year old child. She even loves Denver though she is jealous of her and the relationship Denver has had with her mother. She is also jealous that she survived. The reversal of power from Sethe to Beloved is when the vampiric nature of Beloved intensifies. In the novel the vampiric or parasitic aspect of motherhood is amplified. Like the fetus is a parasite to the mother whose uterus it is sucking life from and continues to nourish its body by gleaning the nutrients from the mother’s body after birth by nursing. Sethe’s mental capacities decline because she has given up any thought of life other than focusing on the baby she murdered. Her own guilt about the act allows her to become entrapped by Beloved. As the author is female, she could depict the mother child relationship and the feelings of the women more effectively. 

Although Beloved vanishes at the end of the book, she is never really gone—her dress and her story, forgotten by the town but preserved by the novel, remain. Beloved represents a destructive and painful past, but she also signals the possibility of a brighter future. She gives the people of 124, and eventually the entire community, a chance to engage with the memories they have suppressed, Through confrontation, the community can reclaim and learn from its forgotten and ignored memories. 

Beloved

Sethe Suggs is the protagonist of the novel Beloved. Through her Morrison depicts the plight of the black woman in nineteenth century America. In this novel, Toni Morrison shows how the American slavery system drastically affects the life of black community. Sethe struggles daily with the haunting legacy of slavery, in the form of her threatening memories and also in the form of her daughter’s aggressive ghost. For Sethe, the present is mostly a struggle to beat back the past, because the memories of her daughter’s death and the experiences at Sweet Home are too painful for her to recall consciously. 

Sethe is a proud and noble woman. She insists on sewing a proper wedding dress for the first night she spends with Halle, and she finds schoolteacher’s lesson on her “animal characteristics” more debilitating than his nephews’ sexual and physical abuse. Although the community's shunning of Sethe and Baby Suggs for thinking too highly of themselves is unfair. Sethe prefers to steal food from the restaurant where she works rather than wait on line with the rest of the black community. It shows that she does consider herself different from the rest of the blacks in her neighbourhood. Yet, Sethe is not too proud to accept support from others in every case. Despite her independence and her distrust of men, she welcomes Paul D and the companionship he offers. 

Sethe’s most striking characteristic; however, is her devotion to her children. Unwilling to relinquish her children to the physical, emotional, and spiritual trauma she has endured as a slave, she tries to murder them in an act that is, in her mind, one of motherly love and protection. Her memories of this cruel act and of the brutality she herself suffered as a slave infuse her everyday life and Jead her to contend that past trauma can never really be eradicated. It continues, somehow, to exist in the present. She thus spends her life attempting to avoid encounters with her past. Perhaps Sethe’s fear of the past is what leads her to ignore the overwhelming evidence that Beloved is the reincarnation of her murdered daughter. Indeed, even after she acknowledges Beloved’s identity, Sethe shows herself to be still enslaved by the past, because she quickly succumbs to Beloved’s demands and allows herself to be consumed by Beloved. Only when Sethe learns to confront the past head-on, to declare herself in its presence, can she extricate herself from its oppressive power and begin to live freely, peacefully, and responsibly in the present. 

Sethe remains in control in most situations. The likelihood that any female could survive sexual abuse, lashing, thirst, hunger, and childbirth, yet continue to form milk in her breasts, defies scientific evidence. The fact that Sethe accomplishes all these and more is Morrison’s tribute to her determination. Obsessed by the chokecherry tree, Sethe refuses to vacate the house that enslaves her to the nightmare of her dead infant. She wrestles the embodiment of her guilt to a truce so strong, So enduring that a second buggy in the yard resurrects the image of deadly spite that dissatisfied schoolteacher 18 years earlier. 

Analyze the character of Sethe

Green Land | March 21, 2024 | 0 comments

Sethe Suggs is the protagonist of the novel Beloved. Through her Morrison depicts the plight of the black woman in nineteenth century America. In this novel, Toni Morrison shows how the American slavery system drastically affects the life of black community. Sethe struggles daily with the haunting legacy of slavery, in the form of her threatening memories and also in the form of her daughter’s aggressive ghost. For Sethe, the present is mostly a struggle to beat back the past, because the memories of her daughter’s death and the experiences at Sweet Home are too painful for her to recall consciously. 

Sethe is a proud and noble woman. She insists on sewing a proper wedding dress for the first night she spends with Halle, and she finds schoolteacher’s lesson on her “animal characteristics” more debilitating than his nephews’ sexual and physical abuse. Although the community's shunning of Sethe and Baby Suggs for thinking too highly of themselves is unfair. Sethe prefers to steal food from the restaurant where she works rather than wait on line with the rest of the black community. It shows that she does consider herself different from the rest of the blacks in her neighbourhood. Yet, Sethe is not too proud to accept support from others in every case. Despite her independence and her distrust of men, she welcomes Paul D and the companionship he offers. 

Sethe’s most striking characteristic; however, is her devotion to her children. Unwilling to relinquish her children to the physical, emotional, and spiritual trauma she has endured as a slave, she tries to murder them in an act that is, in her mind, one of motherly love and protection. Her memories of this cruel act and of the brutality she herself suffered as a slave infuse her everyday life and Jead her to contend that past trauma can never really be eradicated. It continues, somehow, to exist in the present. She thus spends her life attempting to avoid encounters with her past. Perhaps Sethe’s fear of the past is what leads her to ignore the overwhelming evidence that Beloved is the reincarnation of her murdered daughter. Indeed, even after she acknowledges Beloved’s identity, Sethe shows herself to be still enslaved by the past, because she quickly succumbs to Beloved’s demands and allows herself to be consumed by Beloved. Only when Sethe learns to confront the past head-on, to declare herself in its presence, can she extricate herself from its oppressive power and begin to live freely, peacefully, and responsibly in the present. 

Sethe remains in control in most situations. The likelihood that any female could survive sexual abuse, lashing, thirst, hunger, and childbirth, yet continue to form milk in her breasts, defies scientific evidence. The fact that Sethe accomplishes all these and more is Morrison’s tribute to her determination. Obsessed by the chokecherry tree, Sethe refuses to vacate the house that enslaves her to the nightmare of her dead infant. She wrestles the embodiment of her guilt to a truce so strong, So enduring that a second buggy in the yard resurrects the image of deadly spite that dissatisfied schoolteacher 18 years earlier. 

Beloved